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Sultan Ahmed Iii's Hadith-Tughra

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Sultan Ahmed Iii's Hadith-Tughra İSTANBUL ARAŞTIRMALARI YILLIĞI, 2 2013 SULTAN AHMED III’S HADITH-TUGHRA : UNITING THE WORD OF THE PROPHET AND THE IMPERIAL MONOGRAM PHILIPPE BORA KESKİNER * This paper discusses Ahmed III’s hadith-tughra , rised and under certain circumstances even obliged, in which the Sultan, for the first time in the history of to design the tughra of the reigning sultan. 5 Ottoman calligraphy, employed a hadith text in the Tughra s were employed on coins, seals, and of - tughra form. It examines how, due to the decreasing ficial sultanic decrees ( fermân , berât , mülknâme , sı - number of new military conquests, the Sultan used nırnâme ), and endowment documents ( vakfiye ). his calligraphy to create an alternative image, repla - Tughra s do not appear to have been commonly used cing the vanishing ‘warrior/ ghâzi sultan’ with that of in monumental scale before the 18 th century. The the ‘pious/omniscient sultan’. 1 Furthermore, this two exceptions to my knowledge are an epigraphic paper will highlight the iconic nature of the hadith- tughra of Sultan Murad II (r. 1421‒1444; tughra which, unlike the rest of the Sultan’s callig - 1446‒1451), located above the foundation inscrip - raphic works, gained outstanding popularity tion of the Sungur Çavuş tower in Thessaloniki, throughout the 18 th and 19 th centuries like no other dated 833AH / 1430AD, 6 and the tughra of Sultan calligraphic composition. Little has been written on Murad III (r. 1574‒1595), located above the main the calligraphic works of Ahmed III and, to date, no entrance of the Nişancı Mehmed Pasha Mosque, study had attempted to examine his hadith-tughra . built in Karagümrük, Istanbul, between 1584 and A tughra is the stylised calligraphic representa - 1588. In the latter, the employment of the tughra in tion of the name and titles of the Ottoman sultans. 2 epigraphy must have been closely linked to the pro - Tughra s were primarily designed in the royal chan - fession of the mosque’s founder: nişancı .7 cellery (Dîvân-ı Hümâyûn ) by the head of chancellors (kalemiye sınıfı ), called nişancı (literally: sign-affi - INDIVIDUAL TUGHRA PANELS xer). 3 The commissioner of the register ( defter-emîni ), the chief of clerks ( reisülküttâb 4) and the chancellery Although some unusually large individual pa - scribes working under the nişancı were also designing nels bearing illuminated tughra s8 of sultans, such as tughra s. Grand-viziers ( sadrâzam ), the sultan’s abso - Süleyman I, 9 Murad III 10 and Ahmed I 11 exist, it was lute representative ( vekîl-i mutlak ), were also autho - only by the mid-17 th century that designing tughra s * Dr.; University of London, School of Oriental and African Studies. 1 For detailed discussin on the evolution of the sultanic image, see Suraiya Faroqhi, Yeni Bir Hükümdar Aynası: Osmanlı Padişahlarının Kamusal İmgesi ve bu İmgenin Algılanması , trans. Gül Çağalı Güven, Alfa Tarih, İstanbul, 2011, pp. 4‒11, 22‒26. 2 C. E. Bosworth, J. Deny and Muhammad Yusuf Siddiq, “Tughra”, Encyclopaedia of Islam , ed. P. Bearman , Th. Bianquis , C. E. Bosworth, E. van Donzel and W. P. Heinrichs, Brill, 2007. See, İsmail Hakkı Uzunçarşılı, “Osmanlı Hükümdarlarının Tuğraları”, Osmanlı Devleti’nin Saray Teşkilatı , Türk Tarih Kurumu, Ankara, 1945, pp. 237‒239; M. Uğur Derman, ”Tuğra”, Türkiye Diyanet Vakfı İslam Ansiklopedisi , 41, Türkiye Diyanet Vakfı, İstanbul, 2012, pp. 336‒339. Also see, Miralay Ali Bey, “Tuğra-i Hümâyûn”, Târih-i Osmânî Encümeni Mecmûası , 8, 1918, pp. 53‒58. 3 Şule Aksoy, “Osmanlı Sultanlarının Tuğraları ve Tuğralı Belgeler”, Osmanlı , 11, Yeni Türkiye Yayınları, Ankara, 1999, p. 74. 4 Reisülküttâb literally means ‘chief of the clerks’. Until the 18 th century, he was the head of the offices attached to the Grand- vizierate. From the 18 th century onwards, he was the minister of foreign affairs. See, Halil İnalcık, The Ottoman Empire: The Classical Age 1300‒1600 , London, 1994, p. 224. 5 Mehmet İpşirli, “Sadrazam”, Türkiye Diyanet Vakfı İslam Ansiklopedisi , 35, İstanbul, 2008, p. 417. 6 Ekrem Hakkı Ayverdi, Avrupa’da Osmanlı Mimari Eserleri , 4, İstanbul Fetih Cemiyeti, İstanbul, 1982, p. 360. 7 Gülru Necipoğlu, The Age of Sinan: Architectural Culture in the Ottoman Empire , Reaktion Books, Hong Kong, 2005, p. 410. 8 Tülay Artan, “Arts and Architecture”, The Cambridge History of Turkey: The Later Ottoman Empire, 1603‒1839 , 3, ed. Suraiya N. Faroqhi, Cambridge University Press, 2006, p. 410. 9 Tughra of Süleyman I, TSM, G.Y. 1400, 158 x 240 cm, unsigned. According to Esin Atıl, this is the earliest example of oversize tughra s: Esin Atıl, The Age of Süleyman the Magnificent , National Gallery of Art Washington, Harry N. Abrams, Inc., Washington, 1987, p. 38. 10 Ibid. , p. 38. 11 The individual tughra of Sultan Ahmed I, TSM, G.Y.1394, 148 x 251cm, was designed by Nakkaş Hasan Pasha. 2 PHILIPPE BORA KESKİNER as calligraphic compositions unattached to an offi - Mehmed Necip Efendi (d. 1757), reisülküttâb Abdî cial decree gained popularity among the Ottoman Efendi, the Minister of Foreign Affairs, was especi - administrative elite. 12 For example, Evliya Çelebi ally celebrated for the excellence of the tughra s of informs us that Grand-vizier Melek Ahmed Pasha Ahmed III that he designed. 17 An outstandingly large (d. 1652) designed the tughra of Sultan Murad IV panel (TIEM, 2737), measuring 125 x 190 cm, bea - (r. 1623‒1640) “masterfully” ( üstâdâne ). 13 The in - ring the tughra of Sultan Osman III (r. 1754‒1757) dividual sultanic tughra s were either mounted on dated 1170/1756, was designed by the Grand Admi - wooden panels or located in albums. An extant ral, Kapudan Süleyman Pasha. 18 A second panel, example located within an album, is the tughra of bearing the tughra of Sultan Osman III (r. Sultan Mehmed IV (r. 1648‒1687), in the Cleveland 1754‒1757) dated 1169 / 1755, by Süleyman Pasha Album 14 signed by Silahdar Mehmed Pasha. Those is in the İstanbul University Library. 19 There are mounted on large wooden panels were placed in the many more examples of individual tughra panels of royal chancellery ( Dîvân-ı Hümâyûn ) chambers to 18 th century sultans, signed by calligrapher bureauc - serve as proper models and represent the presence rats from different levels of administration. These of the sultan. 15 include chancery scribes ( dîvân kâtibi ), office scri - Composing individual tughra panels gained bes ( kalem halîfesi ), secretaries of the grand-vizier much more popularity in the early 18 th century. Alt - (tezkîreci ), chief secretaries ( mektûbî ), finance mi - hough they appear to have been designed only by nisters ( defterdâr ), treasurers ( kesedâr ), and heads officials of the vizieral rank throughout the 17 th cen - of the office issuing fatwa s ( fetva emîni ). Published tury, after the turn of the next century, an Ottoman ones can be found in Suha Umur (1980), including sultan, Ahmed III personally drew his own tughra . those signed by İbrahim Muhâfız-ı Ağriboz (Guar - In doing this, Ahmed III could have been inspired dian commander of Ağrıboz), Cidde Vâlisi (Gover - by Sultan Mehmed II’s (r. 1451‒1481) sketchbook nor of Jidda) Ebûbekir Pasha, Sadaret Mektupçusu (TSMK, H. 2324) in the Topkapı Palace, which in - (Grand vizier’s secretary) Hamza Hâmid dated res - cludes five tughra sketches drawn by Mehmed him - pectively 1133, 1137, 1153 A.H. (1721, 1725, 1740 self. 16 Following the 17 th century prototypes, he had AD). 20 his tughra s mounted on wooden panels (TSM, G.Y. The administrative elite’s ongoing interest in 1560) as well as including it as an individual tughra calligraphy is related to the fact that, instead of of - in his tughra album (TSM, A. 3653, fol. 4). ficials of military ( askerî ) and administrative ( mülkî ) During the reign of Ahmed III, possibly under origins, an increasing number of civilian bureaucrats the sultanic influence, court officials of many diffe - in secretarial positions ( kalemiye ) were appointed to rent ranks began designing individual tughra panels, high-ranking posts, including that of the grand-vi - an activity that continued into the following reigns. zier. Civilian bureaucrats were now able to attain as According to the Ottoman historian Suyolcuzâde high a position in the palace service, as their military 12 Nakkaş Hasan Pasha (d. 1616) and Kalender Pasha, for instance, were artists and album compilers who also served in the imperial council as viziers. See, Emine Fetvacı, “Enriched Narratives and Empowered Images in Seventeenth-Century Ottoman Manuscripts”, Ars Orientalis , 40, 2011, pp. 243‒247. 13 Evliya Çelebi records: “Melek Ahmed Pasha, following Sultan Murad IV’s authorization to draw his tughra , drew fascinating tughra s, admired by courtiers such as Nişancı Ankebut Ahmed Pasha, Nasuh-Paşazade Ömer Bey, Reisülküttâb Gınâî Efendi.” Evliya Çelebi, Seyahatname , 6, YKY, İstanbul, 2002, p. 83. 14 The Cleveland Museum of Art (CMA), J. H. Wade Collection, 44.492.67.8X15.3/4. 15 See, Banu Mahir’s entry on this tughra in Topkapı à Versailles: Trésors de la Cour Ottomane , Réunion des Musées Nationaux, Paris, 1999, p.180. Also see, Atıl, The Age of Süleyman , p. 38. The two tughra s of Ahmed III, located in the royal chancellery, composed and signed by the sultan himself, served just such a purpose. Similarly, Ahmed III’s son, Mustafa III (r. 1757‒1774) also had his tughra located in the royal chancellery. 16 The sketchbook includes five tughra s (fol. 48a and 83b) of Mehmed II drawn by himself, three complete and two half finished. See, Turks: A Journey of a Thousand Years 600‒1600 , ed. David J. Roxburgh, Royal Academy of Arts, London, 2005, p. 435. 17 Mehmed Necip Suyolcuzâde, Devhâtü’l Küttâb , ed. Kilisli Muallim Rıfat, İstanbul, 1942, p. 89. 18 Nazan Ӧlҫer says that large tughra panels of this kind, displaying the details of the tughra , could have been produced as grand samples for the scribes in the royal chancellery: Nazan Ölçer, In Pursuit of Excellence , İstanbul, 1993, p.
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