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A new look at Sokolluzade Hasan Paşa’s illustrated universal history
No full textThis article revisits a universal history written in the late sixteenth century for the governor of Baghdad Sokolluzade Hasan Paşa (d. 1602) in light of a new- ly-discovered source that provides the missing concluding section of this universal history. This concluding section (Bibliothèque nationale de France Supplément turc 1322), which was announced in the index but not completed in the extant presen- tation copies (Topkapı Palace Museum Library H. 1369 and H. 1230), reinforces the idea of Sokolluzade Hasan Paşa’s imperial claims at the same time as it highlights the Baghdadi tenor of the work, as it was written in Baghdad by an author who be- longed to the governor’s household. However, the Paris manuscript presents no mere conclusion or continuation of a universal history. It is rather akin to a compilation (mecmuʿa) that juxtaposes sections from this universal history with sections from Za- kariya al-Qazwini’s (d. 1283) ʿAjāʾib al-Makhlūqāt wa Gharāʾib al-Mawjūdāt, thus recontextualizing this late-sixteenth-century universal history.Publisher versio
Harvard Sanat Müzesi’nde bulunan minyatürlü bir Baki divan
No full textThis paper introduces an unpublished, late-sixteenth-century illustrated manuscript of the Divan of Baki (Harvard Art Museums, 1985.273). The manuscript raises the issue of options and paradigms for illustration in the Divan. Taking the Harvard Art Museums manuscript as a point of focus in comparison with the other illustrated Divan of Baki of the late-sixteenth century, this paper focuses on the relationship between a non-narrative text and image.Publisher versio
The album of the world emperor: Cross-cultural collecting and the art of album-making in seventeenth-century Istanbul
No full textN/
The hünername as a mirror for princes and as an image-making project
No full textThe Hünername can be considered within the context of illustrated official histories that became popular since the establishment of the post of the şehnameci (shahnama writer) in the middle of the sixteenth century. However, it stands apart from those works composed in Persian following the meter of the famed Shahnama of Firdawsi (d. 1020–26). Instead, the Hünername is composed in Turkish and does not follow a strict chronological progression but is organized thematically. The paper argues that the four-volume project had a double function. That is to say, the Hünername functioned both as a “mirror for princes” in the guise of history and as a means of establishing imperial legitimacy through highlighting immediate dynastic lineage, linking the reclusive Murad III (r. 1574–1595) to his immediate forebears, in a period that resonated with millennial anxieties, a sense of disorder, and a
perceived need for reform. This article focuses on the second volume in particular but situates it in the larger context of the four-volume project.Bu makele dört cilt olarak tasarlanmış ancak tamamlanmamış olan projeye bütünsel ve bağlamsal olarak bakarak yeni bir perspektif katmayı amaçlar. Hünername, onaltıncı yüzyılın ikinci yarısında şehnameci rolünün tahsis edilmesiyle yaygınlaşan resimli resmi tarih türünün bir örneği sayılabilir.
Ancak, şair Firdevsi’nin (ö. 1020–26) meşhur Şehname’sinin veznini takip eden ve Farsça yazılmış, sultanların hayatlarını, savaşlarını tarihsel bir düzlemde anlatan dönemin diğer resmi tarihlerinden farklıdır––tematik bir şekilde organize edilmiştir ve sıkı bir kronolojiyi takip etmez, Türkçe yazılmıştır. Bu bağlamda, onaltıncı yüzyılın ikinci yarısında yazılmış olan resmi tarihler ve diğer metinler arasında Hünername biricik bir örnektir. Dört ciltik bir bütün olarak bakıldığında politik olarak büyük başarıları olmayan, saraydan çok fazla çıkmayan III. Murad’ın (h. 1574–1595) ceddleriyle bağını vurgular ve bu vesileyle hanedanın devamlılığını hatırlatır. Tamamlanmış olan ikinci cilt ise anekdotal ve tematik yapısıyla sultanlara örnek, ideal hükümdar nasıl olunur fikrini gösteren bir nevi nasihatname gibidir. Bu makalede ikinci cilt asıl odaktır ancak projenin tümü bağlamında incelenir.Publisher versio
Two paths top power: Sokolluzade Hasan Paşa and Hadım Yusuf Paşa and their art patronage in early-seventeenth-century Baghdad
No full textOn altıncı yüzyılın sonlarında Bağdat’ta canlı bir sanat ortamı oluştu. Bu makale bu canlanmaya katkıda bulunan iki vali hakkındadır. Bunlardan birisi resimli bir evrensel tarih yazdıran Sokolluzade Hasan Paşa (ö. 1602), diğeri ise İstanbul’dan Bağdat ve Basra’ya seyahati ve oradaki ayaklanmaları bastırmasıyla ilgili resimli, ufak bir eser yazdıran Yusuf Paşa’dır (ö. 1614). İki vali için hazırlanılan ve yaklaşık olarak aynı zamanlarda yazılan ve resimlendirilen bu eserler atandıkları eyalette, özellikle de yerel ve sınır ötesi huzursuzlukların, ama aynı zamanda, sanatta canlanmanın olduğu bir dönemde, güçlerini sağlamlaştırmaya çalışan bu valilerin sanat patronajlarında seçtikleri farklı yolları gösterir. Sadrazam Sokollu Mehmed Paşa’nın oğlu olarak çok daha muazzam bir eser hazırlatır Sokolluzade Hasan Paşa ve kendisini de evrensel tarihin bir parçası olarak hayal eder. Öte yandan, Yusuf Paşa’nın daha mütevazı eseri onu ayaklanmaları bastıran cesur ve dindar bir vali olarak yansıtır.Publisher versio
Macar Bilimler Akademisi’nde Safevi dönemine ait bir şiir mecmuası
No full textThis article is about a Safavid-period illustrated compilation in the Hungarian Academy of Sciences (Perzsa Qu. 02). It consists of three mathnawis: Wahshi Bafqi's Farhad and Shirin, Anisi Shamlu's Mahmud and Ayaz, and Zulali Khwansari's Mahmud and Ayaz. The article first briefly introduces the contents of the manuscript, and next discusses the mathnawis in connection with text-image relationships. These three mathnawis were composed in the late sixteenth and early seventeenth centuries. The fact that this illustrated manuscript was prepared not long after the composition of these three mathnawis suggests that they may have held special importance to the patron. Zulali's Mahmud and Ayaz is the mathnawi that includes the greatest number of paintings in this manuscript--nine out of a total of ten paintings--, with only one painting in Anisi's mathnawi of the same name. Vahshi's Farhad and Shirin does not include any paintings, at least presently. Because the manuscript is in disorder and is lacking several folios, it is likely that this mathnawi also included paintings at one point in the manuscript's life. The paintings in this manuscript show a close connection to the text, both to its lyrical and narrative content. Most of the paintings that belong to Zulali's mathnawi show scenes in a garden. The rate of illustration is very frequent in this case, with a painting almost on every other page from folio 30a through 40a. This quick rate of illustration adds a certain level of movement to the mathnawi, breaking the pace of reading, allowing the viewer to focus on the lyrical content of the poetry. While the garden scenes look quite similar to one another, there are certain slight differences, such as in the reversal of roles of the saqi from Ayaz to the sultan, that show a close connection to the text. In addition to these garden scenes that are typically found in illustrated texts of lyrical poetry, this manuscript also includes paintings that are specific to Zulali's text, such as one showing Ayaz in a bath, or the poet himself in seclusion as he receives inspiration to compose this poem. This inspiration is very much connected to a dream of the famed poet Nizami, who himself makes an appearance in this manuscript in yet another garden scene. While these garden scenes may have been dismissed as typical paintings that denote the lyrical content of the work, which they indeed do, they also show a close relationship to the text. A holistic look at the manuscript suggests that this manuscript is a sub-royal production, datable to the first half of the seventeenth century, more specifically to the reign of Shah 'Abbas I. The style of the paintings and illumination are similar to the Isfahan school of this period. Additionally, the suggestive "portrait" of Shah 'Abbas represented as Mahmud would point to the reign of this ruler as the approximate time of preparation of this manuscript.Publisher versio
An illustrated seventeenth century Ottoman mecmua
No full textBu makale 1640–1642 yılları arasında Ahmed bin Musa isimli bir şahıs tarafından
hazırlanan bir mecmuada (Berlin Devlet Kütüphanesi MS. Quart, 1988) bulunan
IV. Murad’ın Bağdat kuşatmasına ait bir minyatürü inceler. Bu onyedinci yüzyıla
ait olan mecmua çok özenli bir şekilde hazırlanmıştır. Mensur eserler metnin ana
kısmında, manzum eserler, tarihler ve listeler ise haşiye kısmındadır. Mecmuanın
bu organizasyonu eserin başındaki fihristte de belirtilir ve mizanpaj açışından,
metnin tek bir elden çıkmasından, başlıkların ve bölüm başlarının yer yer dekoratif
unsurlarla bezenmesinden ve özellikle de tek sayfa bir resmin dahil edilmesinden
eserin çok özenli bir şekilde hazırlanmış olduğu anlaşılır. Mecmuada bulunan
eserler pek çok farklı konuya aittir: mecmua dini konulu eserler ile başlar, daha
sonra çeşitli tarihi eserler, hikayeler, şair tezkireleri, edebi eserler, tıp üzerine
eserler, takvimler ve son olarak cifr hakkında eserler yer alır. Eserlerin pek çoğu
onaltıncı ve onyedinci yüzyıllarda neşredilmiştir ve hepsi Türkçe’dir. Orijinali
Arapça ya da Farsça olan birkaç eserin Türkçe çeviri ve adaptasyonları tercih
edilmiştir. Eserin içeriğinden kısaca bahsettikten sonra, bu makale özellikle Bağdat
kuşatması hakkındaki metin ve resim üzerinde durur. Metin kuşatma sırasında
mevcut olan bir iç oğlanın payitahta gönderdiği bir mektuptur ve bu mektubun
sonunda, mecmuayı hazırlayan Ahmed bin Musa sayfanın öteki yanında olan resme
bakılmasına salık verir. Mecmua bir bütün olarak incelendiğinde çağdaşlarıyla bir
takım benzerlikler gösterse de bu özenli resim ile birlikte diğerlerinden ayrılırThis paper discusses a compilation organized and compiled by Ahmed bin Musa between 1640 and 1642, focusing on a painting of the conquest of Baghdad (1638). The elegant and carefully prepared compilation uses both the text frame and the margin spaces. Prose texts are in the main text block, and verse texts, chronograms, and lists fill the margins, written in diagonals. Through its careful organization, decorative aspects, section headings, diagrams included in the final section, and the full-page painting, this compilation differentiates from its contemporaries in its fineness and elegance, which the compiler himself notes. After a brief introduction to the compilation and its content, this paper focuses on the letter from a court page who participated in Baghdad’s conquest and the accompanying painting. The letter accompanies a carefully executed painting of the conquest of Baghdad, which distinguishes this compilation from most of its contemporaries
From Empires Past to Nation State
No full textStatues, landmarks, and monumental architecture visibly mark and inscribe meaning into urban space. This is true everywhere, but it is particularly striking in Istanbul. When the Ottoman Turks conquered Constantinople in the fifteenth century, they encountered a city with a rich and layered history stretching back over 2,000 years, where statues had always been important in propagating and legitimizing imperial power. Nineteenth-century governors and, subsequently, khedives of Egypt more readily accepted figural sculpture, especially to assert their political legitimacy in the public arena. The Hamidian regime also encouraged the erection of monuments in the capital and elsewhere to affirm diplomatic alliances that sealed economic partnerships and postwar treaties. Taksim Square came to represent the new and the national in Istanbul as opposed to Sultanahmet and Beyazit, the squares of the imperial past, as the new regime evolved into a coherent political body implementing top down modernization for the sake of building a modern secular nation-state
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