Manuscript Production in the Ottoman Palace Workshop by Zeren Tarumdt

Manuscript production in the Ottoman Palaceworkshop by ZerenTarumdt.

Interest in the art of manuscript illustration during med and Murad II7. He played an important role in the Ottoman period beganin the l4th century among channelingthe interest of the sultansunder whom he the rulers of the Anatolian Emirates. These rulers, servedtowards the arts and sciences.One document being unfamiliar with both Arabic and Persian, the citescertain volumesin Arabic donated by Umur Bey major literary and scientific languagesof the time, in Zilkade 843/April 1440to a medresebuilt by him in encouragedthe translation of works into Turkish, as Bergamaand 33 Turkish manuscriptswhich he donated well as commissioning original works in that lan- to a mosque in Bursa built under his patronage.The guage1. Arabic works were to be used'as text books in the The rulers of three emirates in particular, namely medrese,while the Turkish manuscriptswere for the the Karaman, Germiyan and Kastomonu emirates, use of the general public who had no knowledge of were notable for their patronagein this area, a patro- Arabic or Persian8.According to a document dated nagewhich continued into the secondhalf of the l4th 85711453,Umur Bey donated his library of 60 manu- century. Towards the end of the century, the powers scripts to the imaret Mescid in Bursa, of which his of the patronagepassed largely from their hands into father had beenthe foundere.The document listseach those of the Ottoman court and to the metropolis in volume by namelo. In a foundation document dated which the Ottoman crown princes were based. We Muharram 859 / December 1454,a total of 300 titles may illustrate this transfer of patronage by reference are cited as forming the library donated by Umur Bey to several philosophersand poets who had worked in Bursa11. In all, the documents relating to the under the patronage of the emirates, €.g., Ahmedi, libraries of Umur Bey, details of the upkeep of the Ahmed Dai and $eyhi, who worked for the Germiyan library and of those who were to be responsiblefor emirs. and Darir, who worked under Karamanh patro- executionof the foundation are stipulated. nage. Ahmedi, Ahmed Dai and $eyhi also prepared A close scrutiny of the Bursa libraries has uncovered works for the first Ottoman sultans,while Darir spent only very few of the works donated by Umur Beyt'. several years in Karaman after returning from Egypt Despite the small number of surviving works, how- where he had presentedhis Turkish manuscriptwork, ever,their fine, elaboratelydecorated bindings suggest the S1r,er-iNebí, to Sultan Barq[q for whom it had that the first organized workshops in which original been written in Egypt2. This was during a time when illuminated Turkish manuscriptswere produced were relations between the Germiyans, Karamans and establishedin Bursa. In any case,we are discussing Ottomans were extremelyclose, with marital ties being material of considerableimportance for the Turkish formed which cementedthe relationship3.Darir's two manuscript arts of the first half of the l5th century. works, the Sqler-i l,lebí and the Futuh eg-^fam,must This material is particularly important for the infor- have attracted the attention of the emirs with literary mation it provides concerningthe art of binding and inclinations. I believethat both of these works must the binders of that period. We may say that Umur Bey, haveentered the library of Timurta$ Pa$a,governor of founder of the first inventorizedlibrary of the Ottoman Ktitahya and Beylerbeyi of Anatoliaa, who was period, was the initiator of organizedmanuscript pro- renownedfor his wealth, as both appear in the inven- duction under the Ottomansl3. tory of manuscripts bequeathedby his son, Umur We know that manuscript production of good qua- Beys. The wealth of Timurtag Pagapassed to his sons, lity was under the exclusivepatronage of the Ottoman who were the military commandersof the early Otto- court by the second half of the l5th century, for man sultans, and who built a number of mosques, example the works prepared for Mehmed II and his medresesand similar public buildings in Bursa and vizier Mahmud Paga. After Bursa ceasedto be the throughout westernAnatolia, establishingfoundations Ottoman capital,the production of manuscriptsconti- for their maintainanceó.Umur Bey was an important nued in the workshops of Edirne and later istanbul. statesmanwho servedunder severalOttoman sultans Among the manuscripts emerging from these work- in Bursa, namely Emir Siileyman,Qelebi Sultan Meh- shops are some inscribed by master craftsmen and

Manuscriptsofthe Middle East 5 (1990-1991) t' Ter Lugt Press.Donkersteeg l9 2ll2 HA Leiden.Netherlands. 1993 ISSN0920-0401 68 N,IANUSCRIPTSOF THE MIDDLE EAST5 (I990.I99I) elaborately bound. They consist of several scientific the work. Mevlana Seyyid Lokman. and two akqes works, a1ldedicated to Mehmed IIla (figs.1, 2), three each to the illustrators Osman and Ali. while the illustratedmanuscriptsls, and three Qur'ans.One of calligrapher,binder and apprentices.whose names are thesewas written in Edirne and donated by Mahmud not mentioned, also received advance, terakki. for Pagato the MevlanaTomb in Konyaló. The secondis their work. A secondexpense document dated 99lr dedicatedto Mehmed II, and is now in a private 1583 relates to the historical manuscript Ziibdet iit- collectionin Italy, while the third is in the Museum of Tevàrih20.A third documentof this kind most pro- Turkish and Islamic Arts in istanbullT. These are babiy relatesto the first volume history of the Otto- known to be the products of the workshops of the man sultans. the Hilnernante, dated 992i15842r a Mehmed II period. fourth, dated 996t1588,lists the expensesof the Information about the workings and organization secondvolume of Hilnername.Lhehistory of Srileyman of manuscript production at the court is beginnrngto I22. and a fifth relates to the six-volume Siler-i come to light with the emergenceof such documents l{ebr23. as the Ehl-i Hre./'register. or accounts of the wages Such systematicdocumentation of the preparation paid to thoseartists on the coul't payroll as part of the of illustratedmanuscripts and the survival of such Ottoman state bureaucracy. documentsto the presentday meansthat we know the Little is known of the organizationof the manu- namesof the main artists.iiluminators and bookbin- script workshops of the Seljuks.Abbasids. Ilkhanids. dersof the l6th centuryat the court in a period when Timurids. Akkoyunlu and Karakoyunlu Turkmens. Turkish manuscript art was at its height. Thesewere: the Jalairids,Safavids, Mamluks and Mughals. whereas the painters $ahkulu, Osman. Ali. Velican. and for the Ottomans, regional governmental and legal Hasan: the illuminators: Karamemi and Bayram b. accounts.Kaà Sit'ilidocuments dating from the l5th Dervig; the binders.Mehmed Qelebi.his son Siiley- century to the early 20th century. endowments man, his brothers Hi.iseyinand MustaÍa Qelebi. and (Vakfi1'1'e),the little publishedEhl-i Hreí register.and Abdi b. $aban and Kara Mehmed. We know exactly other relatedaccounts are important sourcesof infor- which works were prepared by which teams.A num- mation for the cultural structureof the court and the ber of accountbooks dating to the 16th centuryand organizationof art productionat the court during the relating to unidentified manuscripts have also been Ottoman period. uncovered,but it is as yet too early to draw any Among thesedocuments are accountbooks showing conclusionsfrom these until more definitive evidence the expenditureincurred during the preparationof an is established. illustratedmanuscript. whrch furnish us with the One of the most original products of the Ottoman namesof the artistsinvolved and their assistants.as palaceworkshop. in terms of illustratedmanuscripts. well as thoseof the bookbindersand their associates.is the $uhrrctnteof the Ottoman sultans. One of the One sectionof the Ehl-i Href'register.now published reasonsfor this is the establishmentof the post of in chronologicalorder. givesthe namesof all those ofhciaicourt chronicleror Sahnanteciduring the l5th involvedin manuscriptproduction. citing their origins centurv and the relative importance of that post (Persian.Georgian. Hungarian, etc.). sometimes their u'ithin the bureaucraticorganization. One of the most provenanceand the date of their entry into the court important hoiders of this oÍïce was Arifi. the author service.details of their successor.their monthly wages of the five-volumeTet,urih-i Al-i Osntan an illustrated and deaths18.These documents do not. however. manuscript dating from the reign of Sultan Srileyman indicate the specificmanuscripts for which these bin- the Magnificent2a. ders or artistswere responsible.Lists of gifts presented The foreword to the Sahname-iSelim Han written by mastercraftsmen to the sultan on specialfeast da.vs by SeyyidLokman, which relatesthe history of Sultan include the namesof the binder or artists. the type of Selim II, is evidenceof the importanceof the post of gifts presentedby them and the sultan's reward for Sahnameciat the Ottoman court: it also supplies their labours. valuabledocumentation concerning the variousstages The accountbooksare a reliable sourcefor establish- of preparation of an illustratedmanuscript. This fore- ing the teamsof artistsengaged in the preparationof a word was publishedby Dr. Filiz Qagmanin 19732s. manuscript. Such documents give the title of the Soon after his appointment as Sohnameci($evval976 r manuscript,the namesof the author. the artist and his March 1569),Seyyid Lokman, having read the Ziget- team. the binder and his team, the scribe and cetvelkeS var Tarihi of Nigancr Feridun Bey, with which he was (margin scribe), together with the wages. fees or greatly impressed2ó(fig. 3), rewrote that work in rewardsgiven for their services. Sahnamemode, renamingit Zafername.The 98"1i1579- One such early document relates to an historical 80 illustrated version of this work is the History of manuscript in verse, ïhe $ahname-i Selint Han. dated Suleyman2?(flg 4) Lokman was sent with the Za/èr- 6 Zrlhicce 988 i 7 January 1581, copied during the name manuscriptto $emseddinAhmed Karabafi, one reign of Selim II1e. According to that document. of the leadingscholars of the time, by $eyh Ebu Said. 10,000akg'eswere paid as an advanceto the author of $emseddinAhmed Karaba[i expressedhis admiration ZEREN TANINDI. THE OTTON,IAN PALACE WORKSHOP 69 for the work. having studied it closely. and later cuted the illustrations for Turkish translationsof Fir- summoned the team of artists and scribes working devsi's$ahname. Two of the paintersof AriÍl's Siile-v- under Lokman. Showing Lokman, in their presence. rnenname3a.whose names are not yet fully established, his noteson the history of the reign of Sultan Selim II' illustrated a Turkish translation of Firdevsi's $a/r- he requestedhim to use them. At first Lokman refused, name3s(figs.9-12). Osman3ó, master illustrator during saying that he had doubts about being able to carry the reign of Murad III, executeda Turkish translation out the work successfully.But on the insistenceand of Firdevst's $ahname31(f,gs. 5. 6, l3)' Hasan3s' praise of the scholar and others present.he agreedto master illustrator for Mehmed III, painted a Turkish write the work under the title |he $ahname-i Selint $ahnante3e(figs. 14. 15). Finaily. Nakgia0.who was Han. After completing part of the work he showed SultanOsman II's masterillustrator. also illustrated a some of it to the Grand Vizier Sokoilu Mehmed Paga. translationof Firdevsi'swork. (figs. 16. l7)ot.These who summoned a well-known Ottoman artist and above-menttoned $ahname manuscripts are of nearly scribefrom the court workshop to illustrate and copy the samesize as the Ottoman Sultans' $ahnames. out the work {fig. 5). The artist later executedan This would seem to suggestthat such illustrations exemplarydrawing showing Sultan Selim II seatedin were testsof skill executedby master artlsts at court, the Tower of Justice,shooting an arrow at a target the Firdevsi $ahnamebeing chosen as subject-matter suspendedfrom the dome, expressingjustice and sove- for artistswho were candidatesfor the post of illustra- reignty (flg. 6) The master calligrapher inscribed an tor of the Ottoman Imperial $ahname. accompanyingcouplet from under the painting. The During the period in which illustrated $ahnames text. the illustration, and the script were then presen- were en vogue.there was close cooperation between ted to the Sultan by the Grand Vizier. They were then the official court poet-chroniclers.the sahnamecis.and studied by the Sultan and various scholars at some the masterartist at court (fig. l8). This cooperation length before the imperial decree was given for the was particularly effectiveduring the reign of Murad completionof the work. Lokman was summonedto III when the manuscript workshop was both creative the court togetherwith the artist and the calligrapher' and prolific in its production. It was a system of The Sultanexpressed his approval of the work. At this cooperationwhich includedthe scribe.the illuminator point the Íinal text could be written and the illustra- and the bookbinder. During the reign of StileymanI tions begun. this team consistedof the $ahnameciAriÍl and a group The draft texts of the $ahnante-í Selint Hun are of painters.whose namesare not yet fully established known. One of the drafts has some notes on the (figs.9. ll, l9). Another artist who is responsiblefor margin28.These indicate the locationsof the illustra- manuscriptproduction with thesepainters is Mehmed 'mohalli tion. such as last'ir'.or there is a sentence Qelebi. the bookbinder, and his family (fig. 20). The referring to a certain Musa who is to draw the frame names and works of a small group of painters in of the pages(fig. 7). Another draft cop.vof $uhnante-i Sultan Siileymanthe Magnificent'speriod are known. Selint Han exists which onl,v contains a few pages. althoughtheir contributionsto the art of painting of That copy also has some open spacesfor the miniatu- $ahname,and the degreeof cooperationbetween,fal- res2e.The third copy is illustrated.It was probably a nanteciand paintershave not yet beenclarified. These trial piecein which the text givespart of the beginning are: Nigari, $ahkulu. and Matrakqr Nasuh. On the and foreword3o. other hand. Kara Memi. the illuminator, played an All thesedocuments suffice to show the care taken important role in the illumination of the Ottoman in the preparation of manuscripts.particularly illus- Sultans' $ahnantes.The coliaboration of the illumina- trated historiesin the court workshop. tor Kara Memi, the calligraphersAhmed Karahisari Material for Arifi's Siileyntanname3rand volume II and Hasan Qelebi,and the bookbinder Mehmed Qelebi of Htinernaffi€32,prepared either for imperial appro- and his family. working together harmoniously and val. or as a draft for the flnished texts. have survived enthusiastically,led to the production of severalreli- (f,e.8). gious manuscriptsin the reign of Sultan Si.ileymanthe With the estabiishmentof the post of $ahnameciaÍ Magnificenta2. Murad III the Ottoman court. the $ahname of Firdevsi was During the reign of Sultan Selim II and establishedas the prototype for the $ahnamesof the the $ahnameciSeyyid Lokman combined his talents Ottoman Sultans.In the above-mentionedforeword to with those of artists Osman, Ali, and Velican and the (flg. 2l). During the reign of Íhe $ahname-í Selim Han, Seyyid Lokman expresses binder Abdi b. $aban his admiration for Firdevsi and his work, the .faft- Mehmed III the $ahnameciwas Talikizade,the painter nan'te.saying that he, Lokman, was more fortunate Hasan. and the binder Kara Mehmed. Under Sultan then Firdevsi in being author of the dynastic chronicles Osman Il $ahnameciNadiri joined forces with the of the Ottoman Sultans33. artist Naksi and the binder Kara Mehmed (fig. 22). A generalview of the manuscriptsillustrated in the The binders were an important part of the team of Ottoman court schoolduring its prolific period reveals artists engagedin the preparation of a manuscript. that well-known court paintersof successiveeras exe- During the early l6th century one of the most promi- 70 MANUSCRIPTSOF THE MIDDLE EAST5 (I990-I99I) nent nameswas that of the binder Mehmed Qelebi.He patronage and guidanceof one person. Towards the was, together with his son and brothers, among the mid-l7th century no illustratedSahnames were prepa- foremost binders of the palace school of the day. red even though there were notable military successes Mehmed Qelebi was the creator of the composition for the Ottoman Empire; although such manuscripts still employed by leading contemporary binders, had once been greatly favoured there was no subject- consistingof a stamped central medallion and span- matter for them. 'saz'-style drelsembellished with decoration.Such bin- Fine manuscriptsdating from the mid-l7th to the dings were employed particularly on the covers of mid-l9th century sufficewith their bindings, illustra- illustrated histories and Qur'ans throughout the lTth tions, and illuminations sufficeto indicate the quality century. and level of Turkish manuscript production during As fig. 23 indicates,for the designof manuscriptsof that period (figures24, 25). They include illustrations imperial quality, the binders followed certain basic of a contemporary type, alongsideilluminations and standards.Three catagoriesof manuscripts emerged decorative bindings which sometimes include both from the workshop of Mehmed Qelebi.Group -1:Mss. contemporary and traditional eiementsin the same measuring35 x 25 cm. This group includesthe Silley- work (fig. 26). In the 19th century in particular, some mannamea3,and the Qur'ans and Qur'an sectionsaa illuminatorswere also accomplishedbindersse. thought to have beenmade for RristemPaga, vizier to Despite the introduction of the printing press Srileyman I, as well as an Albiimas. Group 2: A during the 19th century. Qur'ans, prayerbook. antho- Qur'an measuring44.5 x 31 cmaó. Group J: The logies,etc., continued to be written by famous calli- VakJiyeof Hurrem Sultana?,some religiousworksa8. graphers.One suchwork is the magnificentearly 20th- and a group of literary textsae,measuring 25.5 x centuryQur'an, dated 1330,1911.written by the calli- l6cm. In most literary works, lacquer and leather- grapher Hasan Rrza, and illumtnated and most pro- work are used together. Particularly worthy of note bably bound by BahaeddinEfendi60 (fig. 27), are the harmoniously designedworks of the binder An overall view of the fine quality manuscript Mehmed Qelebi,the painter $ahkulu. and the illumi- production of the lSth and l9th centuriesindicates nator Kara Memi. that such manuscriptswere without questionproducts During the second half of the l6th century. the of the court workshop. At the same time it is clear team of binders alongside that of the manuscript that manuscript production at the court school was painters underwent some changes.Mehmed Qelebi's not executedwith the same discip[ne as had existed brother Mustafa was chief binder untii l58l s0. and during the l6th century,and that we cannot talk of an thereafterhis place was taken by Abdi b. $aban. Abdi organization anything like as extensiveas that which b. $aban used as a model for the various kinds of existedduring the earlier period. The centrally admi- manuscriptsprepared by him and his team the type of nistrated organization had declined in proportion to binding employed in the first group of Mehmed Qele- the economicand political strengthof the state. bi's works cited above. The Mss. produced in his workshop, preparedby the binder Kara Mehmed and others under the patronageof Murad III, include the illustrated historiesof the court school, royal albumssl Norrs and the Divan of Murad IIIs2. For the secondillustra- * UludagUniversitesi. Egitim Faktiltesi. Bursa. ted group of histories produced by the workshop of Abdi b. the model, as in vols. I and II of the $aban t i.H. Ertaylan,Ahmert-í Dà'i Hal'attt'e Eserleri, istan- Hiinernames3,for the size of the binding was the bul. 1952.pp. 134-139;i.H. Uzungargrh.Osmanh Tqríhi, SrileymaniyeLibrary Qur'an of Mehmed Qelebi.In his C.I. Ankara,1947,pp.273-215 i.H. Uzungarg:irr.Anadolu Ziibdet iit-Tevaruhsaand the Qur'an inscribed by Bel'likleri t'e Akko.vunlu,Karakoyunlu Devletleri. Ankara. Karahisariss,Abdi b. $aban useda larger binding, 62 1937.pp.80-88. x 4l cm, renderingthese manuscripts monumental in 2 Z. Tanndr. Srler-i lVebí.Islam Tasvir SanatmdaIIz. stature.Throughout the first half of the lTth century, Muhammed'inHayatt, Ístanbui, 1984. pp. 26-27. the chief binder at the palace school was Kara Meh- 3 Uzungargrh1937 , pp. l0-I L 4 Kíitah1'aSeftr'i. istanbul. 1932, pp.49, med, who had been a member of Abdi b. $aban's i.H. Uzungargrh, team. The bindings of the imperial manuscripts of 55. s 1947,pp. 300-302. Kara Mehmed's team, namely illustrated historiessó, Uzungar;rb 6 E.H. Ayverdi, OsnlenhMimarisinde Qelebi ve II. Sul- Qur'anss"and albumss8,follow the model of Abdi b. Ían MuradDevri; 806-855(1403-1451) 4 istanbul.1972, Hilnernamesin scale. $aban's p. 602. During the secondhalf of the 15thcentury Ottoman ? Ertaylan1952, pp. 20-21. manuscript production came under the patronage of 8 i.E. Ertinsal,'Medieval Ottoman Libraries'.Erdem, the court, and its control, during the secondhalf of Cilt l. sayr:3(Eyliil 1985)p. 751; i.E. Eninsal,Tíirk the l5th century and prospered, reaching its peak KíitiiphaneleriTarihi II. Ankara,1988, pp. 9-11. during the reign of Murad III, always under the e The Imaret Mescidin Bursa.which also bearsthe ZEREN TANINDI. THE OTTOMAN PALACEWORKSHOP 7l name of Timurtag Paga,is now generallyaccepted as having read at the VIIth International Congressof Turkish Arts. been built in the early 15th century. Adjacent to the build- Warsaw, 20-25September 1983. ing is the minaret of Timurtag Paqa and bath, both built 23 Topkapr SarayrMiizesi Kritiiphanesi,H. 1221.H.1222, separatelyfrom the mosque.The walls of the main room of H. 1223:Dublin ChesterBeatty Library, T. 419, New York this large bath are known to have originally been revetted Public Library, Spencer Collection. See: Topkapr Sarayt with hexagonal,square and rectangular tiles which were. Miizesi Arqrvi, D. 12292: Merig 1953; pp. 70-71; Tantndr however. later removed. From fragments still in place it 1984,pp.3l-32. 2a appears that these were probably late 15th-centuryOtto- For the Ottoman $ahnamecissee: Z. Akalay (Tanrndr), man underglazetiles painted in blue. purple and turquoise Osmanh Tariheyle ilgili Minyatrirhi Yazmalar ($àhnámeler on a white background.Traces of stuccowall decorationin ve Gazanàmeler),unpublished doctoral thesis in istanbul the form of geometricaland foliate motifs are also to be UniversitesiEdebiyat FakriltesiSanat Tarihi, istanbul 1972. 'Turkish found. pp. 26-38; F. Cagman, Miniature Painting', ?'fte 10 This record is to be found in a manuscript from the Árt and Architet'tureof Turkey',ed. E. Akurgal, Fribourg. 'An bequest of Umur Bey (Bursa. inebey Krittiphanesi, Ulu 1980. p. 225: C. Woodhead, Experiment in Oflrcial Cami. 436),which was first brought to light by N. Karatay l{istoriography: The Post of $ahnameci in the Ottoman 'Bursa'da in Umur Bey Vakrfnamesi ve Yeni Bulunan Empire. c. 1555-1605',Wíener Zeitschrift.fiir die Kunde des Mrihim Bir Vesika', Uluda!, sayr:35(Mayrs 1941).pp. 15- Morgenlandes75 (1983),pp. 157-182. 2s 20. The samedocument is later referredto by M. Yriksel in Qagman1973, pp. 412-415. 'Umur Bey'in Bursa'da Vakfettigi Kitaplar'. Tiirk Dtinvast 2ó Ahmed Feridun Bey (d. 1583)entered the serviceof Arctstrmalan.sayr:31 (Agustos 1984).pp. 137-140;and Grand Vizier Sokullu Mehmed Pasaas a clerk in 1552-53, Errinsal1985, p. 752 and Eriinsal 1988.p. 10. Among the later becomingclerk of the Imperial Council. He was noted manuscriptsmentioned in the document are a one-volume for his bravery during the Zigetvar.campaign.Brought to 'níSoncr'in Futth es-$amand a six-volumeSryer-i 1/eói both in Turkish, the post of 1573by SelimII. he remainedin that copies of which are now known. The author of neither post largely till his death. with some interruptions to his work is given in this document.I believe,however, that the term. Feridun Bey compiled all correspondenceto the author of both manuscripts was Erzurumlu Darir. and imperial throne as well as all the texts of imperial author- indeed that the manuscriptsmentioned in the sourcewere ship written up to that time in the manuscript entitled the the originals, perhaps even in the hand of the author Míinseat-t Selàtín, for which work he became renowned. himself. The author was also responsiblefor a work describingthe 11 Eriinsal1985, p. 753; Errinsal1988. p. 11. Zigetvar campaign of StileymanI. the death of the sultan 12 Yiiksel 1984.pp. 134-141. during the siegeof Zi-setvar.Selim II's enthronementand 'On 13 Z. Tantndr. the Mss in the Bursa Libraries'. the early years of his reign. The work was inscribed in unpublishedpaper read at the VIIIth International Congress honour of Sokullu Mehmed Paga.An illustratedcopy of of Turkish Arts, Cairo 26th September- lst October this work. mentioned in the foreword of the Sahname-i 'lSth-Century 1987. Z. Tanrndr. Ottoman Manuscriptsand Selim Han of Seyyid Lokman. Sahnantecito the court of Bindingsin Bursa Libraries.'Islcntic .4rt IY ( l99l ), pp. 143- Selim II and Murad III. is to be found in the Topkapr 174. SarayrMiizesi Kiitilphanesi. No. H. 1339.This manuscript, 1a 'East J. Raby. and West in Mehmed the Conqueror's inscribed in Qorlu on 13 Receb 976i2 lanuary 1569, Library'. Bulletin du Bibliophile3 (Paris 1987).p. 311. contains twenty miniatures.The subject of the manuscript 'The 1s E. Grube. Date of the Veniceiskandar-nama'. is a series of events taking place in the liletime of the IslamicArt 11,1987,pp. 181-202.pls. X-XI. author. and witnessed by Feridun Bey himself. and a 16 Z. Oral,'Kitap Kitabeleri'.Antt. 1-i2. say'r:13(Ocak chronicle of the life of Sokullu Mehmed Paga.a statesman l9s0),p. 3. whose role in those eventswas considerable.It is the first 17 Ístanbul, Tiirk ve Íslam EserleriMiizesi. no. T. 448. illustrated manuscript of its kind. This was the kind of 18 R.M. Merig, Tilrk Nakry Sanatr Tarihi Arastmnalarr manuscriptthat beganto emergeafter 1570as the result of 'Kanuni I. Vesikalar.Ankara 1953. F. Qagman, Dónemi the formation of a new team of manuscript artists. The Osmanlt Saray SanatqrlanÓrgr.itii. Ehl-'i Hrrefl. Ttirkit'e- miniaturesof this manuscriptare the first to clearlyexpress miz, yrl 18,sayr:54 ($ubat 1988),pp. l1-17. the character typical of Ottoman historical minatures, in 1e Topkapr SarayrMiizesi Kr.itiiphanesi,A. 3595.Baqba- their simplicity, formality. ceremonialexpression, grandeur kanhk Argivi, Kepeci Tasnifi. Ruus 238, p. l97b: Ruus 225. and realism. For complete referencessee: F. Qagman, '$ahname-i 'Ottoman p. 321. See:F. Qagman, Selim Han ve Minya- Art', The Anatolian Cír,ili:ation 111. Ístanbul tiirleri', Sanat Tarihi Yllryt V (istanbul 1973).pp. 415-411. 1983.E. 172. 20 Tiirk ve islam EserleriMiizesi, No. 1973.See Bagba- 27 Dublin ChesterBeatty Lrbrary. No. T. 413. SeeV. kanhk Argivi, Kepeëi Tasnifi. Ruus 241, p. ll; G. Renda. Minorsky, The Chester BeaÍt)' Lihrary, a Catalogue of the 'Tiirk ve islam Eserleri Miizesindeki ZÍbdet r,it-Tevàrih'in Turkish Manuscripts and Miniature.s, Dublin 1958. No. T Minyati.irleri',Sanat, yrl 3, sayr:6(Haziran 1977),p.65. 413. figs. 5-12. pl. I; I. Stchoukine, La peinture turque 'Osman 21 Topkapr Sarayr Miizesi Kttiiphanesi, H. 1523. See d'après les manuscritsillustrés I. De Sulel'màn I"'à Topkapr Sarayr Miizesi Argivi. D. 10759. N. Anarfarta, II, 1520-1622,Paris 1966.pp. 67-68,116-117, pls. XXXI- H[inernàme Minl'atiirlerí ve Sanatgtlan, istanbul 1969. XXXVII; E. Atrl, The Age o.f Sultan Siileyman the Magni- 22 Topkapr SarayrMiizesi Ktitiiphanesi.H. 1524.Bagba- ftcent, Washington 1987.pp. 94-96, figs. 43a, b. c. d. The kanlrk Argivi Kepeci Tasnifi. Ruus 250. p. 37. See: Z.Ta- ZaJèrname of Seyyid Lokman. inspired by the Zigetvar 'The nindr, miniatures of Hiinernàme Vol. II. in the Light Tarihi of Feridun Bey, is the first work of that author of a Newly Discovered Document', Unpublished paper written in the $ahna,??estyle. This manuscript is the conti- 72 MANUSCRIPTSOF THE MIDDLE EAST5 (I990-I99I)

SULTAN SULEYMAN (1520-156ó) SULTANMURAD rrl (1574-r595)

;ahnameci nakkas mi)cellid Sahnameci nakku; miicellid AriÍl ? Mehmed Qelebi, and family SeyyidLokman Osman Mustafa b. Ahmed Ati Abdi b. $aban

SULTANMEHMED lll (1595-1603r SULTANOSMAN Ir (1618-1622)

Sahnameci nakkas mticellid sahnameci nakka; miicellid Talikizade Hasan Kara Mehmed Nadiri Naksi Kara Mehmed

Fie. 18. The teams of Sahnamecis,painters and binders during the most prolific period of manuscript production in the Ottoman PalaceWorkshop.

nuation of the Sa/e-r:mennomebegun by Arifi. which is an aa Tlirk ve islam EserleriMr.izesi. Nos. 430. 452.Z.Ta- '13-1,1. account of the reign of SiileymanI up to 1558. nrndr. Yiizyrldayazrlmrg Kuran larrn Kanuni Dóne- 28 Topkapr SarayrMti:zesi Kiitiiphanesi. R. 1537.See Qag- minde Yenilenmesi'.Topkapt SaravrMíi:esí Ytll* I (1986) man l973.p. 412. p. 149.Íigs. 12, 13. 2s as Ibid., p. 412. istanbul Universite Kiittiphanesí. F. 1426. Qagman 3o British Library. Or. 7043.See G.M. Merdith-Owens. 1983,E. 172;Atrl 1987.pp. 105-109.figs. 49a-f; Rogersand 'Turkish Miniatures in the Selim-nàme'.The Brítish Museum Ward 1988.No. 53a-f. aó Quarterlr. Vol. XXVI. Nos. l-2. pp. 33-35,pls. XVI-XVII; istanbul SiileymaniyeKiitrlphanesi Hamidiye 5. See N.M. Titley, MiniaturesJi'omTurkish ManuscrípÍs: A Cata- Tanrndr1986, pp. 146-141,figs. 9-l l. logue and Sub.lectIndex oJ Paíntings ín the Britísh Líhrary a? Tiirk ve islam EserleriMiizesi. No. 2191.See Rogers and British Museum,London 1981,No. 47. and Ward 1988.No. i2. 31 Ankara Dil ve Tarih Cografya Fakriltesi Kiitiipha- a8 Topkapr SarayrMiizesi Kr.itiiphanesiEH. 58. EH. 49" nesi. list I. No. 84. See A.S. Levent. Go:oratnamelerre E.H. 2851; Ttirk ve islam Eserleri Miizesi. No. 1962. Mihalofilu Ali Be1"inGazavatnantesi. Ankara 1956.p. 31. istanbul Universite Ktittiphanesi.T. -5467.See: Ibid.. 'Hi.inername 32 T. Ó2. ve Min,vatiirleri'. Gíi:et Sanutlar nos. 14.20.24a-b.30. 31. With Ílll bibliography. 'Ru-sani I. pp. 3-16. ae Z. Tanndr. Ttirk Kitap Kaplannrn Erken 33 Qa[man 1973,pp. 414-415. Órnekleri'.Kenrul Qi!'u .lnnugrrr. istanbul 1984.pp. 224- 3a Topkapr SarayrMrizesi Kritilphanesi.H. 1517.See 230.figs. 5-10. E. Atri, Silleymannarne.The Illustrated Hi.stor.t'ol Sillevnrun s0 istanbul. BagbakanhkArgiri. Kepeci Tasnifi. Ruus the Magnificenl.Washington. 1986. 239.o.243. 3s Topkapr Sarayr Mtizesi Kiitr"iphanesi.H. 1520. See s1 Vienna. ÓsterreichischcNationalbibliothek Cod. Mixt. Stchoukine1966. pp. 57-58.pl. XVIII: Atasol'and Qagman 313. See:D. Duda. IslctntíscheHond.schrifien L Die illunilníer- 1974,p.25: E. Qagman and Z. Tanrndr. TopkaptSaru.t t en H andsc ltr ift en der Ós t r' r r r,i r'I t i.r r' lu'r r .\'tt t i ona I b i h Iio t hek. MuseuntIslamic' Miniatures, No. 134. istanbul. 1979.Top- Wien 1983,pp. 156-160. s2 kapr SarayrMrizesi Ktituphanesi. H. lll6. See:Z. Akalay' Topkapr Sarayr Miizesi Hazine 2 2101. See: F. Qag- 'Topkapr 'Serzergeran (Tanrndr), Sarayr Mtizesi Kutriphanesi Hazine man, Mehmed Usta ve Eserleri'.Kental (-ig'a 753 no.lu Nizami HamsesininMinyatiirleri'. Senat Turihi Annulan,istanbul 1984, pp.53-63. figs. 1.2. s3 Yilt{t III (1973)p. 399.fig. l8: Qagmanand Tanrndr1979. Topkapr Sarayr Miizesi Kiitriphanesi.H. 1523. 1521. no. 135,fil.49; Atrl 1986.p.42, fig. 13. See F. Qagman and Z. Tanrndr. Topkapt Saruv Musewn. 3ó Qagman1973. pp. 415-426.figs.2-7. Islamit'Miniatures. istanbul. 1979.No. 152. 153 with full 3' Topkapr Sarayr Miizesi Kiitiiphanesi. H. 1522. See: bibliography. sa Atrl 1980,fig.76; Atrl 1986,p. 42. fig. 16. Tiirk ve Íslam EserleriMiizesi. T. 1913.See Qagman 'Nakkag 38 Z. Akalay (Tanrndr), Hasan PaSa'.Sanat 6 1983,E. 180with full bibliography. (Haziran 1977),pp. 114-125. ss Topkapr Sarayr Mrizesi Kritriphanesi. HS. 5. See: 3q British Library. Or. 7204. See: G.M. Meredith- Ibid..E. 192. Owens, Turkish Miniatures. London 1969, p. 27. pl. XV; só Topkapr Sarayr Miizesi Kiitiiphanesi. A. 3592: Tiirk Titley 1981,No. 58. ve islam Eserleri Miizesi. T. 1965. See with full biblio- 'Ahmed 40 E. Atrl. Nakgi. an Eclectic Painter of the graphy: Akalay (Tanrndr) 1977. pp. I 20-I 2 1. Early SeventeenthCentury', FiJ'thInternational Congressof s7 TopkaprSarayr Mrizesi Kritriphanesi, K. 58. K.E. Kara- TurkishArt, ed.G. Feher(Budapest 1978), pp. 103-121. tay, Topkapr Sarart Mlizesí Kíitiiphanesi Arapqa Ya:malctr a1 Uppsala University Library, Ms. Celsius No L For Katalogu,vol. I. istanbut,1962, No.99l. completereferences see: Ibid. 58 Topkapr SarayrMrizesi Kritriphanesi.B. 408. 409. 42 se Atrl 1987,pp. 44-109,figs. 7-49; J.M. Rogers and $ule Aksoy,'Kitap SiislemelerindeTiirk-Barok-Rokoko R.M. Ward, Síilel'man the MagniJtcent, London 1988. Uslfrbu'.Sanat, yrl 3, sayr:6(Haziran 1977).pp. 126-136. pp. 64-110. ó0 Topkapr Sarayr Mi.izesiKiitiiphanesi, Y.Y. 325. see: a3 Topkapr SarayrMiizesi Kiitiiphanesi,H. 1517.With Kararay 1962,No. 1629. full bibliography: seeAtrl 1986. ZEREN TANINDI. THE OTTO\4AN PALACE WORKSHOP t)

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Fig. 2. Seebelow, p. 76. 14 MANUSCRIPTSOF THE MIDDLE EAST5 (I990-I99I)

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Fig. 3a. Army marching with Sultan Siileyman's coffin, from the Nuzhet el-Esrar al-Ahbar der Sefer-íSigetvar of Ahmed Feridun Paga,dated 13 Receb976 l2 January 1569.Topkapr Sarayr Miizesi. H. 1339.fol. 104a. ZERIN TANINDI.THE OTTOMANPALACE WORKSHOP 75

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Fig. 2. Leather filigree doublures, from the Gurar el-Ahkam of Muhammed Tarsusi, dated Zilkade 878 / March 1474.Topkapr SarayrMiizesi, A. 1032. '# h.*l f-, :,

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Fig. 4. Army marching with Sultan Srileyman'scoffin, from the Tarih-i Sultan Síilet,manof Lokman. dated 987/1579-80. Dublin, ChesterBeatty Library. Ms. 413.fols. 113b-ll4a.

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Fig. 6. Sultan Selim II seatedin the Tower of Justice,shooting an arrow at a target suspended from the dome, from ï.he $ahname-i Selim Han of Lokman, dated 6 Zilhicce 988 I 1 January 1581.Topkapr SarayrMiizesi, A. 3595,fol. lla. ZERL\ TA\I\DI. THE OTTOI,IAN PALACE \I'ORKSHOP l9

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Fig. 8. A page from the draft copy of Íhe Hilnername,vol. II, of Lokman, dated Safer 996 / February 1588.Topkapr SarayrMiizesi. unclassifieddocument. ZEREN TANINDI. THE OTTOMAN PALACE WORKSHOP 8l

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Fig.9. SultanSrileyman I huntingwith princeSelim, from Íhe Silleymannameof AriÍï, datedRamazan965 I July 1558.Topkapr Sarayr Mr.izesi, H. 1517,fol. 462b. 82 \1ANI.S('RIPTS OF THE MIDDLE EAST 5 (I990-I99I)

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Fig. 18.See above, p. 72. 90 MANUSCRIPTSOF THE \,IIDDLE EAST5 (I990-199I)

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Fig. 20. Stampedand gilded leather binding of mi)cetlidMehmed Qelebi,from the Sileymanname of Arifi, dated Ramazang65 / July 1558.Topkapr SarayrMiizesi, H. l5l7: t\.)

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Fig. 22. Stamped and gilded leather binding, probably the work of míicellid Kara Mehmed, from the $ahname-il{adiri, c. 1622.Topkapr SarayrMrizesi, H. 1124. À

BINDER BINDER BINDER

MehmedQeJebi, son and brothers Mustafab. Ahmed(died l58l?) Kara Mehmedc.s. (ló00?-ló10?) (1520?-1570?) Abdi b. gaban(1570?-ló00ï Kara Mehmed,c.s.

(Sultan SÍleymanI) (SulranMurad III) (SultanMehmed IIIt (SultanAhmed I) (SultanOsman II) Sileymanname (TSM. H. 1517)17 x 25.4cm Zigetwr Turihi(TSM, H. 1.119).19 x 25cm (lUK, Murakks F. t42ó)35.5 x 26cm ] SileymanTarihi (D('B 111) ]11.5x 2ócm da:'of the (TSM, E.H. 222)34x23cm (TSM. A. .1595) x z Qur'an I t $ahname-i,Se/iniar 15 24cm cl Qur'an (TIEM 410)3J x 25cm $uhnume-íMural III (ltJK, F. 1404)ló x 24cm - Qur'an (T[EM452) 36x27cm $uhname-íMurud III ITSM. B 200) 3ó x 24cm ! Mwakku (ÓNBl 15 r 24cm i DÀ'ar(TSM 2r2107)ló x 24cm o T Silari Ncái(TSM. DCB. Ncw York) 3óx 24cm i (SLileymaniye, T Qur'an Hamidiye5) 44.5x 3lcm 1 Hint,rnumt,vol. I (TS\4.tl. l52l)48.5xllcm uhname-i lt'l e hnre d I I I (T IEM, 1965) Mrratka (TSM, B. 408) (TSM, $ $ahname-íNadíri H. | 124) o Hintrnumt.vol. 2 (TSM.H 1524;44.5x30cm > 40x25cm I > 47.5x l5cm 41.5 x 27.5cm 7 ll[ehnetl III (TSM, A.3592) Marckta (TSM,B. 109) - $ahnane-í - 4lx25cm I 49.1x l,lcm - rJ F1 Quian (TSM.K. 581) Zuhder-itTevarih (TIEM. 197.1)64.7 x 4l cm 47.5x l2 cm i KanuniDivuil (TIEM l9ó5) x 25.5 l6cm Qur'an(Karahisari) (TSM. H.S.5.) ó2 r 4lcm r I I-allanre(TSM. H. 1703) Hirrem S. Vakfitesi(TIEM 2l9l) 25.5x lócm ó8x 47.5cm G O Quian(TSM, E.H.58) 25.5x Iócm G Qur'an(TSM, E.H. 49) 25.5 x lócm Dlrcn-rNerai (TSM, R. 804)25.5 x lócm Krk Hadis(TSM. E.H. 2851) 25.5 x rocm

Fig. 23. The standards of imperial bindings, early-l6th to early-l7th centuries. ZERENTANINDI. THE OTTOMANPALACE WORKSHOP 95

Fig. 24. Gilded leatherbinding from the Risale,transcribed by Mehmed gevki, dated 1288/ 1871.Topkapr Sarayr Mrizesi, M.R. 276. 96 \4ANUSCRIPTSOF THE MIDDLE EAST5 (I990-I99I)

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Fig.25. Illuminated page from the EliJba, transcribed by Mustafa Vasrf, dated first half of the lgth century. Topkapr SaraytMiizesi, E.H. 425, fol.7a ZERENTANINDI. THE OTTOMAN P,ALACEWORKSHOP 9l

Fig. 26. Tooled and gilded leatherbinding of the En'am, dated 116011747.Topkapr Sarayr Miizesi. EH 419. 98 \'ÍANUSCRIPTSOF THE MIDDLE EAST5 (I990-I99])

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Fig. 27. Illuminated serlevha,from a Qur'an, transcribedby Hasan Rza, illuminated and probably bound by Bahaeddin Efendi, dated 133011911.Topkapr Sarayr Mrizesi.Y.Y. 325.fol. lb.