ARAM, 20 (2008) 137-162. doi: 10.2143/ARAM.20.0.2033126O. ERAV≤AR 137

MINIATURE PAINTINGS OF PROPHET (ILYAS) AND AL KHODOR (HIDIR) IN THE OTTOMON PERIOD

Dr. OSMAN ERAV≤AR (Selcuk University, Konya, )

Al Khadir and Ilyas, regarded as a substantial issue in terms of Turk- beliefs, still maintains to be an up to date case in the cults regarding the proph- ets1. One may notice this fact particularly at the festivals held on the 6th of May, the date which is adopted as the day Al Khadir and Ilyas met each other. As far as these societal beliefs are concerned, Al Khadir is most frequently enunciated as the person who rushes to aid the others in need of help identical to the person in the proverb “Kul sıkı≥mayınca Hızır yeti≥mez” which means “Hizir will only show up whenever you really need him” That general ambu- lance services are named after “Hızır” in Turkey can be expounded by the as- sociation between this name and the profound background of this culture in Asia Minor. The aim of this study is to highlight the images regarding Al Khadir and Ilyas taking part in the Ottoman period miniatures. Furthermore, by the help of the aforementioned miniatures we shall seek to determine the association of Al Khadir and Ilyas with the pre-Islamic period cultures in terms of iconography. This is, of course, bound to raise some questions. In this respect, I shall seek to be entirely objective.

THE SOURCES UTILIZED IN THIS STUDY AND THE PRIOR STUDIES

As a reaction to the belief that there exists a prohibition to paintings in Is- lam, many miniatures were created. The miniature artists worked subject to Ottoman Palace, under the auspices of the Ottoman sultans2. In this respect, the subjects of the miniatures were selected from religious and literary issues, in addition to the lives of the sultans. Our issue, the miniatures of Al Khadir and Ilyas, is most frequently observed in the religious and the literary achieve- ments. The miniatures of Al Khadir and Ilyas contribute intensely to the achievements inscribed on the subject of the history of prophets such as Qisas

1 This research was sponsored by Selcuk University Scientific Research Projects. 2 And, 1998,50; And, 2004,107.

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al Anbiya3 and Falname. Above all the achievements inscribed concerning the history of prophets and which embrace Ottoman period miniature, is Zübdetü’t Tevarih4 inscribed by Seyyid Lokman A≥uri. In this achievement, known to have been inscribed in the period of Murat III (1583), are the portrayals of the prophets taking part in the Old Testament and Quran5. The miniatures of this manuscript were painted by Nakka≥ Osman. Three copies of this manuscript6 exist. Amidst the Ottoman period calligraphic inscriptions, do Qisas al Anbiyas involve the narrations of the prophets7? The Ottoman inscriptions realized as regards this issue imitated the Persian achievements of El-Hekim Ni≥aburi, Cuveyni and Muhammad bin Hasan al-Dayduzami8. During the Ottoman period, Qisas al Anbiyas is the most substantial one ≤ehname-i Osman inscribed by Arif Çelebi in 1558, during the period of Süleyman the Great9. There exist other Qisas al Anbiya exclusive of this book10. These manuscripts, most of which are dated back to 16th century, have been scattered to several libraries around the world. The miniatures that have to do with our issue have been taken from the manuscripts of Topkapı Palace Museum11. Another manuscript in which the depictions of the prophets are given is Falname12. The function of the book is quite interesting. The reader used to open a page of this achievement at random, matching the miniature on the page with the text against this page13. It was arranged as a fortune telling book by vizier Kalender Pasha in the period of Ahmed I, at the beginning of 17th century14. The manuscript embraces the miniatures of the prophets taking part in the Old Testament and . There are also other inscriptions similar to Falname. The most important one amidst these is Fal-ı Quran15. The author of this manuscript, which involves sixty miniatures, is unknown.

3 Milstein R., Rührdanz, K., Schmitz, B., Stories of the prophets: illustrated manuscripts of Qisas al Anbiya, California, 1999. 4 And, 1998, 117; Renda, 1976, 183-200 5 Mahir, 2005, 100 6 Topkapı Sarayı Müzesi H. 1321, Türk Islam Eserleri Müzesi 1973, Chester Beatty Library 414. 7 Milstein, 1999, 1-2. 8 Milstein, 1999,2. 9 This book was published in five volumes. 1. volume Enbiyaname(in Geneve, Collection of A.Bruchett), 2. Volume (loss), 3. Volume History of Seljuk (loss), 4. Volume Osmanname (in collection of Hans H. Kraus ), 5. Volume Süleymanname. (Topkapı Sarayı Müzesi H.1517). And, 2004, 53. 10 Milstein, 1999, 2-3. 11 Topkapı Sarayı Müzesi H. 1225, Topkapı Sarayı Müzesi B.250, Topkapı Sarayı Müzesi, R.1556. 12 Topkapı Sarayı Müzesi H.1703, Dresden, Sächsische Landesbibliothk, E.445. 13 And, 2004, 86 14 Millstein, 1999, 68. 15 Topkapı Sarayı Müzesi H.1702.

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Among the miniatures of the Ottoman period are the Iskendernames, the in- scriptions that most frequently involve the issues in respect to Al Khadir and Ilyas. The main subject of these inscriptions which are also designated as Sedd-i Iskender and Kıssa-i Iskender is who is enunciated as Zulkarneyn in Quran16. The most comprehensive and striking constituent of the Iskendernames in terms of its miniatures is the one that pertains to Ahmedi who is one of the poets of the 14th century17. This Iskendername of Ahmedi embraces the miniatures as to Al Khadir and Ilyas accomplishing their jour- neys with Zulkarneyn in great deal. Apart from this achievement also there are Hamses a chapter of which depicts Al Khadir and Ilyas drinking the water of immortality18. It was the travelers who preliminarily drew the attention to the origin of Al Khadir and Ilyas culture in Asia Minor and their relation with the pre-Islamic periods19, which successively shed light on the further studies. Hascluck was the first to mention and expound the relation between Al Khadir and Ilyas and the pre-Islamic cultures in Asia Minor20. Right after him, A.Y.Ocak implemented an extensive study as did Hascluck21. Ocak in his article, judging from the public beliefs and their historic facts in several regions of Asia Minor, extraordinarily advocated that Al Khadir and Ilyas culture was a continuation of St. George cul- ture22. The second book carried out by A.Y. Ocak involves the most extensive study concerning this issue which scrutinizes the relation between Al Khadir and Ilyas and Asia Minor cultures. There exists no direct study of the case dwelling on Al Khadir and Ilyas in the Ottoman period miniatures. Accordingly, this subject occurs exclusively in the general studies of the field23.

THE BELIEF OF AL KHADIR AND ILYAS IN TURKISH-ISLAMIC CUL- TURE

The beliefs as regards Al Khadir and Ilyas in Turk-Islam culture of the pub- lic focus on two basic subjects. The first one of these two subjects is the belief that Al Khadir suddenly appears when someone is in need of help and then he vanishes after his help. In this respect, he is acknowledged to be immortal. The

16 And, 1998, 59; Bagcı, 1989, 11-15. 17 Original copies of these three manuscripts are in Paris Bibliothéque Nationale Colbert 4187, Topkapı Sarayı Müzesi H.679, Venice Biblioteca Marciana OrXC=57/56. 18 Bagcı, 1989, 140. 19 Dernshjwam, 1923, 76 20 Hasluck, 1973, 570. 21 Ocak, 1991. 22 Ocak, 1991, 666. 23 About miniatures of connected with Hızır and Ilyas was done an evaluation by Metin And. (And, 1998, 193-196).; in Ahmedi Iskendername section of Hızır ve Ilyas prophet was examined by Serpil Bagci. (Bagcı, 1989, 139-141).

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background of this immortality story of Al Khadir and Ilyas can be traced back to Alexander whose iconography will be submitted in the following part. As for the second of these subjects, it is the iconography that is concerned with the day Al Khadir and Ilyas met with each other. The most striking issue dwelled on this iconography is that the day on which Al Khadir and Ilyas met with each other is actually the day nature turns green. In reference to the old Christian calendar this date corresponds to the 23rd of April whereas in terms of Gregorian calendar it is the 6th of May. The same as today, this date was believed to be a holy day. They used to make wishes and give sacrifices on the highest hills. As it is seen, the beliefs in respect to Al Khadir and Ilyas prophets have been handed down from one generation to another for centuries. The phenom- ena behind these beliefs have been preserved irrespective of their true nature. The impacts of these phenomena can be overtly seen in the social and cultural depictions of Ottoman society. One of the depictions of these phenomena is implemented in the Ottoman miniatures. It is probable to classify the mini- atures with respect to Al Khadir and Ilyas in terms of iconography.

1. The Depictions of Alexander and Water of Immortality (Ab-ı Hayat) The story of Alexander, who takes place in Quran as Zu’l-Karneyn24, and Al Khadir is considerably mentioned in the Iskendernames. The two cases partak- ing here are comparatively more striking than the others. These are Al Khadir’s pursuit of the immortality water and his construction of a huge bar- rier against Yejuj and Majuj (Gog and ). Alexander, understanding that there are no sovereign places out of his rule left on , decides to make an expedition to and . He re- marks a palace protected by a talisman on his way and enters in. Inside the palace he notices a skeleton on the made up of gold and ivory. Just be- side the skeleton on the plate is there an inscription saying that the figure who conquered the East and West could not be able to rule death25. Then Alexan- der’s heart fills with sorrow. A sage in the palace tells him that there is a foun- tain in the East whose water provides immortality. Alexander embarks on a journey with his army and the company of Al Khadir so as to find this foun- tain. During this journey the other occurrences happen. These occurrences comprise his encounter with the corpse of the prior Zu’l-karneyn in the coun- try of Brahman, the assault of the witches by magic fire and arrows, Al Khadir’s extinguishing of this fire by his prayers to , Alexander’s arrival to the land of Zenan whose people entirely consist of women, and his receiv-

24 Many debate if Zulkarneyn is a prophet. Zulkarneyn means double horn which symbolizes east and west. 25 And,1998,61; Bagcı, 1989, 139.

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ing information about the situation that the water of immortality (Ab-ı Hayat) is in the land of darkness26. This is the most striking part of the issue. Al Khadir and Alexander learning the location of the water of immortality (Ab-ı Hayat), in order to find it, set out to the land of darkness, Zulmet. Meanwhile nothing is visible. On account of a sudden storm, Al Khadir and Alexander di- verge from the army. Then, Alexander understanding that it is nothing but van- ity to seek to find the immortality water decides on returning back. Al Khadir in the storm drawing near to the place where the water of immortality is (Ab-ı Hayat), cannot make out where he is at first sight. When he drops the dead out of his hands and the fish resurrects, he realizes that he is near the water of immortality (Ab-ı Hayat). Al Khadir, who fills his golden goblet, drinks the immortality water and then becomes immortal. As it is clear from the very be- ginning of the story, Alexander embarks on this journey with Al Khadir. There is no information concerning Ilyas. Nevertheless, while in some miniatures the prophets Al Khadir and Ilyas are depicted together, Al Khadir appears alone in some others. That Al Khadir and Ilyas are depicted together in some mini- atures relevant to our issue may be because of the fact that these two prophets are united in the further periods. When we refer to the miniatures regarding our issue, we see Al Khadir and Ilyas sitting just before water of immortality (Ab-ı Hayat) (Figure 1). Either prophet holds one dead fish in his hands as they are sitting in a position that one leg of each is on the ground and the other one is upright. This fish is going to fall in water and resurrect. The black part just behind Al Khadir and Ilyas is the land of darkness, Zulmet. Behind this place is seen Alexander who has just come out of the darkness and can not manage to reach water of immortality (Ab-ı Hayat). The second miniature that is a continuation of the issue participales in Falname (Figure 2). The occasion depicted in the same way, involves water of immortality (Ab-ı Hayat) standing in the forefront, Al Khadir and Ilyas on the near side of it, just in the middle the land of darkness Zulmet and just behind Alexander’s army with cressets in their hands. The subject depicted here, is a continuation of the first miniature. The fish is not in the hands of Al Khadir and Ilyas. It has already fallen in the water and resurrected. After a short pe- riod of time, Al Khadir and Ilyas shall understand that this water is the water of immortality (Ab-ı Hayat). There is also another striking miniature that depicts Al Khadir and Ilyas near the water of immortality (Ab-ı Hayat) (Figure 3). The scene of this mini- ature is arranged with ample space. Al Khadir and Ilyas is depicted in the source of Ab-ı Hayat. The fish has already resurrected in the water. Just be- hind is the army of Alexander in the land of darkness, Zulmet. The striking part of this depiction is that on the lower part of the miniature is the

26 Bagcı, 1989, 267.

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Israfil with the holy trumpet. The angel is depicted in a way which shows that it is imminent the holy trumpet shall be blown (El-Kehf 98,99). The pursuit of Alexander has turned out to be a metaphor and the symbol of universal unease in terms of the Islamic point of view. We have already stressed above that Al Khadir is depicted alone by the water of immortality (Ab-ı Hayat) in some miniatures. The most noteworthy of these is the one that is concerned with Al Khadir’s filling his golden goblet with the water of immortality (Ab-ı Hayat). There are two miniatures of this topic. In the first miniature taking place in Zübdet’üt Tevarih, Alexander is depicted sitting on the throne. Behind is Al Khadir filling his goblet with the water of immortality (Ab-ı Hayat) (Figure 4).The second miniature is from the quintet of Nizami (Figure 6). In this inscription by the name of ≤erefname Al Khadir is filling the immortality water from a cascading spring. Alexander is depicted in Zulmet in the background. The origin of this issue stems from the legend of Alexander and his cook Andreas ()27. Andreas dives in the water in order to find the fish he dropped in the water and becomes immortal. (Most probably, this legend transforming in the course of time has turned to the fish story of Al Khadir and Saint which shall be dwelt on in the following part.)

2. The Barrier Construction of Zulkarneyn against Yejuj and Majuj () This tribe taking part in both Quran and Old Testament is a precursor of doomsday. Yejuj and Majuj (Gog and Magog) descend from the breed of Noah28. They are the children of Saint ’s son, Yafet. In terms of Iskendername, Alexander conquering the island of Vak Vak and killing the dragon Tinin, heads towards China. In this period, the ruler of China is Tamgaç Khan. When he hears from Alexander’s expedition towards China, initially he hesitates about what to do but later on, he submits to him, abstain- ing from his power. Alexander being content with Tamgaç’s courtesy, returns China to Tamgaç. Alexander with the guidance of Tamgaç starts on a tour in China and comes across an exhausted and intimidated community inhabiting confined in between two mountains (Figure 7). These people deplore that they are apprehended from the tribe of Yejuj and Majuj since they steal their crops and torture them. Also they demand a barrier from Alexander against the gate heading towards where Yejuj and Mejuj live. Alexander constructs a barrier at a height equal to these two mountains gathering iron pieces, accumulating these into the gate and igniting all. The space between the melted iron filled up with tar, the barrier is constructed29. The prophet Al Khadir also helps him

27 And, 1998, 195. 28 And, 1998, 287. 29 And, 1998,196.

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construct the barrier. Hence, the tribe Yejuj and Majuj is restricted through the barrier. When this barrier collapses, the tribe Yejuj and Majuj shall invade the earth as they are free (El-Kehf, 92-100). Most of the miniatures about this bar- rier up against Yejuj and Majuj do not involve the depiction of Al Khadir. However, a miniature taking part in Zübdetü’t Tevarih includes a striking de- piction of Al Khadir and Alexander side by side in the course of this occasion (Figure 8). In the front part of the miniature do Alexander and Al Khadir stand side by side and in the background continues the construction of the barrier. That Al Khadir takes part in an issue which is stressed in both Quran and the Old Testament is an interesting case. This may be assessed as a sign granted from the holy power during the construction of the aforementioned barrier30.

3. The Story Taking Part in Quran The story which takes part in Quran concerning Al Khadir has been de- picted readily in the miniatures. The story that has to do with Al Khadir takes part in the Kehf Sura of Quran. It is declared between the 60th and 82nd verses of the Quran (Figure 9). The sura does not cover the name of Al Khadir. Nev- ertheless, the person stressed here is expounded as Al Khadir under the light of the of Muhammad (S.A.V.). As to this story, one day Musa was asked regarding the most knowledgeable person on earth and he replied without any hesitation that it was himself. God, in order to lead Musa to the reality, told him that there was a person where the two seas were meeting and ordered him to find this person. Musa, who set up for meeting the mentioned person, would utilize a dead fish so as to find the point where the two seas were meeting31. The dead fish would resurrect and disappear through the opening of a rock there. Musa, finding the person who he was ordered to find, would demand that he take Musa with him and teach him. They embarked on a journey to- gether. This mystic person made a hole in the deck of a ship; killed a boy; re- claimed a wall which nearly collapsed. The person explained the reasons of his deeds to Musa and added that all he did was ordered by God. The miniatures of this story declared in the Quran mostly take part in Kısas- ı Enbiyas. These generally cover the three incidents of the story. In this mini- ature, while Musa is waiting at one side, Al Khadir reclaims the wall as his last responsibility. That the other duties have already been realized is understood from the corpse and the skiff on the ground. Heavenly light surrounds both Musa and Al Khadir, this denotes that the person taking part in the sources of the Ottoman period is the prophet Al Khadir. This story given in Quran shows some similarity with the story of the water of immortality (Ab-ı Hayat) which is concerned with Al Khadir and Alexan- der. Most of the motives taking part in this story can also be noticed in the pre-

30 And, 1998, 196 31 Ocak, 1999,26

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Islamic period stories. There are some exemplifications of immortality rivers in Sumer, Gılgame≥ and Greek mythologies.

4. Al Khadir-Ilyas Miniatures in Terms of Public Believes The most common subject of the Ottoman Islam society regarding Al Kha- dir and Ilyas is the occasion that Al Khadir and Ilyas help those who are in need of assistance. Most frequently, the miniatures about this case are found in the Iskendernames and Qisas al Anbiyas. Notwithstanding that there exists no information about these characteristics of Al Khadir and Ilyas, they are preva- lently supported by the public beliefs. In terms of public beliefs, Al Khadir and Ilyas have become legends as to these subjects: To help in time of need, to re- ward good people and punish the bad ones, and to render fertility and to help in the time of war32. In the miniatures in respect to these characteristics of Al Khadir and Ilyas, generally Al Khadir appears as a white bearded dervish. In this miniature taken from Qisas al Anbiya, Al Khadir and Ilyas are praying for the deliver- ance of the starving public (Figure 9). The sinners, who do not believe and obey the messengers sent by God, are punished by God, through starvation. By the invitation of the city inhabitants, Al Khadir and Ilyas come and pray for fertility. On the left side of the miniature Alexander is depicted on horse- back (Figure 10). The sources of the period state that the esteem of Al Khadir and Ilyas was of great importance in the XV. century33. As it is seen in these sources, every individual starting a journey in the vast land of Ottoman Em- pire, prays to Al Khadir to ward off evil events34. There is no miniature depict- ing Al Khadirwith the travellers helping them. As the waves increase during a sea voyage of Alexander, Al Khadir and Ilyas arrives on his prayers. In this miniature are the sea-creatures, and Alexander sitting beside Al Khadir and Ilyas in the skiff depicted in a heaving sea. At the upper part of the picture is an angel with open wings. This scene must be associated with the voyage of Alexander to Rayid Island in Indian Ocean. Judging from Qisas al Anbiya, Al Khadir and Ilyas who drank the water of immortality, used to meet at the water dike of Zulkarneyn and would pray for humanity until dawn35. Al Khadir on land and Ilyas at sea used to realize their prayers. A miniature depicting this occasion is taken from Qisas al Anbiya (Figure 11). In the middle of the mini- ature is Ilyas depicted during his prayer at sea while Musa and Yu≥a are watching.

32 Ocak, 1999, 85. 33 Ocak,1999,86. 34 Ocak, 1999, 86. 35 Milstein, 1999,150

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5. The Miniatures Evoking St. George Iconography The most frequently dwelt on issue as regards St. George in Christian art is the struggle between St. George and the dragon. St. George in the figures of is depicted as thrusting the spire in his hand to the dragon (Figure 13). The depiction of Ilyas in the poetry of Anatolian culture, the metaphor “the man on white horse” is frequently employed36. Also, the metaphor “white horse” is intensively used in medieval literary narratives regarding Al Khadir and Ilyas. Although there are not many, several samples exist realized in this way in the Ottoman miniature. Among the miniatures dwelling on this issue, the miniatures taking place in the Iskendername are remarkable. In the mini- ature exposed in Paris Nationalle Bibliothque, there is a cavalryman with a halo above his head depicted during his struggle with a dragon (Figure 14). That the horse is white and rearing up, and the position of the cavalryman is reminiscent of the iconography of St. George. Another miniature implemented in the same way takes place in the book Sanat ve Doga Harikaları (Wonders of Art and Nature) (Figure 15). Once it was suggested that this miniature was the depiction of a statue which is known to have been in the Horse Square of Istanbul in the Byzantine period37. How- ever, that there are mountains in the background of the picture and the cavalry- man wears a turban in addition to his Ottoman garments vindicates that this picture is rather a miniature depiction than the depiction of the statue.

6. The Miniatures as Regards Ilyas We have dwelt on the miniatures in which Al Khadir alone or Al Khadir and Ilyas together appear until this part. The miniatures depicting Al Khadir and Ilyas are concerned with the aforementioned occasion. Besides, there are miniatures that depict Ilyas alone in Qisas al Anbiya. Likewise, there is a mini- ature on the issue in Zübdetü’t Tevarih (Figure 16)38. In terms of the story tak- ing part in Qisas al Anbiya, the prophet was striving to divert the pagans to God in Damascus. Despite all his warnings, the city inhabitants continued to worship an idol by the name of Ba’l. Ilyas, perceiving the extreme divergence of the inhabitants from God, made prayers to God. Thus, it did not rain for three years. The inhabitants of the city reaching no resolution in worshipping the idols, asked Ilyas to make prayers to God. Then, suddenly the clouds ap- peared and it began to rain. Nevertheless, the inhabitants taking no lessons from this occasion, kept worshipping the idol. Hence, Ilyas prayed to God to take his soul. God informed him about the place and time where his soul would be taken. God also informed him that when the day came, he would find

36 Öztelli, 1978, 349; Ocak, 1999, 96. 37 And, 2004, 344. 38 And, 1998, 214, Atasoy-Çagman, 1974, plate: 22.

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a fire coloured horse which he should ride (Figure 17). The miniature of Zübedtü’t Tevarih depicts the day on which Ilyas’s soul is taken. There is a golden horse and an angel behind it in the miniature. Ilyas is also depicted be- fore the horse and with wings. The destruction of the ramparts by the Yu≥a (Ye≥u) that takes part in the Old Testament is depicted in the lower part of the miniature.

CONCLUSION

The beliefs of the tribes prior to the Turks in Asia Minor have persisled with changes similar to the fact that the goddess cult found in the excavation of Çatalhöyük is also used in Hittite and Greek mythology. In this sense, al- though the cult of Al Khadir and Ilyas seems to be of Islamic background, we perceive that it can be traced back to the very early periods and its mainte- nance up until now is a mine of information. While the miniatures as to Al Khadir and Ilyas taking part in the Ottoman period manuscripts were arranged in accordance with the verses of Quran, they were depicted as the reflections of the pre-Islamic period in the beliefs of the public. In particular, the der- vishes living in the rural areas of Asia Minor merged the existing St. Georges cult with Al Khadir and Ilyas. The main reason for their thesis was the many existing similarities in their stories to each others. We see the best sample of this unification in Elvan Çelebi who put up his own dervish lodge over the St. George monastery39. Ultimately, the events, whose themes were Al Khadir and Ilyas, were taught among the events of the Ottoman period in the Ottoman madrasah and paid great attention to the intellectual aspect of society. The main reason for the oc- casion that the miniatures of Al Khadir and Ilyas take part in the events such as Iskendername is on account of their association with the literary and cul- tural scope rather than the theological scope. If this study, which has been real- ized in a short period of time, is broadened, then other miniatures shall be en- countered.

BIBLIOGRAPHY

And, Metin, Minyatürlerle Osmanlı Islam Mitologyası, Istanbul, 1998 And, Metin, Osmanlı Tasvir Sanatları:1 Minyatür, Istanbul, 2004 Atalay, A., A., Gel Kendine Deli Gönül, Istanbul, 1996. Atasoy, N., Çagman, F., Turkish Miniature Painting, Istanbul, 1974 Bagcı, S., Minyatürlü Ahmedi Iskendernameleri: Ikonografik Bir Deneme, Ankara,

39 Eyice, 1969, 226,234

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1989.(Hacettepe Üniversitesi, Sosyal Bilimler Enstitüsü, Basılmamı≥ Doktora Tezi) Busbecq, O. Ghiselin, Türk Mektupları, (çev. H.C.Yalçın) Istanbul, Tarihsiz. Dernschwam, H., Tagebuch, (F.Babinger), Leipzig, 1923. Eyice, S., “Çorum’un Mecidözü’nde A≥ık Pa≥a Oglu Elvan Çelebi Zaviyesi”, Türkiyat Mecmuası, XV, 1969, 211-245. Grube, Ernst J. Islamic pottery: of the eighth to the fifteenth century in the Keir Collec- tion, London, 1976 Hascluck, F.W., and Islam under the Sultans, Newyork, 1973. Karacaoglan, Bütün ≥iirleri / Karaca Oglan; hazırlayan: Cahil Öztelli, Istanbul, 1978 Mahir, B., Osmanlı Minyatür Sanatı, Istanbul, 2005 Milsteim R., Miniature painting in Ottoman Baghdad, Costa Mesa,1990 Milsteim R., Rührdanz, K., Schmitz, B., Stories of the prophets: illustrated manu- scripts of Qisas al Anbiya, California, 1999. Ocak, A.Y., Islam Türk Inançlarında Hızır Yahut Hızır Ilyas Kültü, Ankara, 1999. Ocak, A.Y., “XIII-XV. Yüzyıllarda Anadolu’da Türk Hıristiyan Dini Etkile≥imler ve Aya Yorgi (Saint Georges) Kültü”, Belleten, LV/214, 1991, 661-673. Renda, G., “New Light on the painters of the Zubda al-Tevarikh in Museum of Turk- ish and Islamic Arts in Istanbul”, IVe Congrés International d’Art Turc, Pro- vence, 1976, 183-200. Renda, G., “Chester Beatty Kitaplıgındaki Zübdetü’t Tevarih ve Minyatürleri”, Prof.Dr.Bekir Kütükoglu’na Armagan, Istanbul, 1991, 485-506.

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Figure 1. Water of Immortally, in Fal-Kur’an TSM H. 1702 (From And)

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Figure 2. Water of Immortally, in Falname TSM. H. 1703 (From And)

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Figure 3. Prophet Al Khadir and Ilyas at fountain of life. (From Grube)

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Figure 4. Prophet Al Khadir at fountain of life. In Zübdetü’t Tevarih TSM H. 1321 (From And)

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Figure 5. Al Khadir filling the immortality water from a cascading spring, in ≤erefname BL. Or. 13948, (From And)

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Figure 6. Al Khadir and Ilyas drinks immortality water, In Topkapı Sarayı Müzesi, H. 755.

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Figure 7. Alexander (Dhu’l Qarnayn) building a wall to keep out the people of Yejuj and Majuj. In Newyork Public Library Spencer Collection (Pers. ms. 46) (From Milstein)

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Figure 8. Al Khadir an Alexander Great building a wall to set a limit of Yejuj and Mejuj. In Zübdetü’t Tevarih, Topkapı Sarayı Müzesi, H. 1321.

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Figure 9. Al Khadir telling Prophet Musa the meaning of his strange, In, Qissa-i Enbiya, Topkapı Sarayı Müzesi, B. 250. (From Milstein)

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Figure 10. Al Khadir and Ilyas praying to save from famine. In Kıssa-i Enbiya, Topkapı Sarayı Müzesi, R. 1536, (From Milstein)

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Figure 11. As the waves increase during a sea voyage of Alexander, Al Khadir and Ilyas arrives on his prayers. In Hamse-i Hüsrev Dehlevi, Süleymaniye Kütüphanesi, Halet Efendi 377.

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Figure 12. Ilyas praying on the sea and Musa and Yu≥a watching him. In Cam- bridge, Mass., Sackler Museum, Harvard University Art Museums, 1985.275

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Figure 13. Picture of St. George in Yılanlı Church from Kapadokya region.

Figure 14. A cavalryman with a halo above his head depicted during his struggle with a dragon, In, Iskendername Bibliothéque Nationale. Suppl Turc. 3009. (From, And)

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Figure 15. A cavalryman fighting against a dragon.In, Sanat ve Doga Harikaları, British Library, Harleian 5500. (From And)

Figure 16. Ilyas is going to with golden horse. In, Zübdetu’t Tevarih, Türk Islam Eserleri Müzesi, 1973. (From, And)

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Figure 17. Prophet Ilyas's soul is taken, in Zübdetü't Tevarih, Topkapi Savayi Müzesi, H. 1321. (From And)

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