Canvasser: Translated by Sultan Ul Arafin Johnny

Manazir Journal

In 1566, after Sultan Suleiman’s death, Shah Tahmasp (r. 1524-1576) sent condolences and congratulations to Sultan Selim II (r. 1566-1574) along with several gifts, including a magnificent Quran and an exquisite illustrated Shahnama copy, noteworthy in Iranian art history. However, the letter accompanying these gifts has often been overlooked, perceived as containing mere courtesies. This letter marked a significant exchange between Safavid kings and Ottoman sultans, with participation from secretaries across Iran. Its authors aimed to portray an idealized king and their notable characteristics, demonstrating that the actions of these rulers (Sultan Suleiman, Sultan Selim, and particularly Shah Tahmasp) aligned with this ideal. Art-related activities were among these characteristics. The authors detailed the Safavid king’s palace, garden, and the artistic gifts to highlight their connection with the king’s ideal image. This article explores the letter as a literary and artistic medi...

Journal of Education and Learning, 2016

This study will try to read the stories of Sabahattin Ali, who has written various books in Turkish, within the context of Marxist literary aesthetics, assess the types and characters in the stories of Sabahattin Ali within that framework, and observe the social levels and the gaps between them based on the relationships between the two extreme poles (the peasants and the intelligentsia), which constitute the main theme of the author's works. Many "socialist realist" authors/poets write within the context of Marxist literary aesthetics, although its era of major literary influence is now over. Nevertheless, although characters created in literary works with the purpose of disseminating ideologies are generally designed in line with the authors' intentions, are governed by them and are often not realistic or true-to-life, we can observe certain aspects that are in accord with these kinds of literary aesthetics while reading the adventures of Sabahattin Ali.

2013

Efforts to understand, interpret and review the classical Turkish literature, has increased in recent years. Studies have been developing in two aspects. Analysis of poetry expositions, identification and comparison of application methods on expositions with each other, are the first aspect of the studies. The second aspect is applicability of modern methods of text interpretation to the classical Turkish literature texts and text interpretation studies in this direction. This study is to understand and interpret the work of poetry. In poetpoem-reader trilogy, after a theoretical evaluation about writing and interpretation of the poem, a ghazal of Necati Bey is analyzed and interpreted. Review was held in three stages. Reading of the text, fictionalizing the story and interpretation of the text. Reading stage, has been done to leave the reader with the text alone, a crude reading. To feel the changes on level of comprehension of the reader, who will meet again at a later stage the text, description or comments have not been added. The second stage is building of the story that provides

Istanbul University - DergiPark, 2009

İslâm'ın güzellik ve estetiğe verdiği önem bu dinin kaynağı olan Kur'ân ve hadislerle ortaya konmuştur. İslâm'ın ilk yıllarında putperest anlayışa bağlı olarak kutsal unsurlar sunan resim ve heykele karşı ciddî ve tarihsel olarak haklı bir muhalefet mevcuttu. Bu muhalefet sanat anlamında resim ve heykele değil; bizzat resim ve heykelin ibadet maksadıyla kullanılmasınadır. Mevlânâ'nın kendi resmini yaptırması ise Sufî geleneğin kapsayıcı dünya görüşü ile sanat tasavvurunun yerel formlarla ve tarihsel kodlarla yeniden inşa edilmesi olup, bu noktada da Mevlânâ kırılma noktasındaki bir şahsiyettir. Mu'ineddîn Süleyman Pervâne Kayseri'de Selçuklu idaresinde görevlidir. Eşi Gürcü Hatun da onun yanına gidecektir; ama Mevlânâ'ya olan manevî bağlılığından dolayı Konya'dan ayrılmak istemez. Ayrılık kederini azaltmak için bir çare düşünür ve sarayın ressamı olan Aynüddevle'yi birkaç memur ile beraber Mevlânâ'nın portresini çizmek için ona gönderir. Sanatçı, Mevlânâ'nın resmini çizmeye başlar; ama resimdeki ile Mevlânâ'nın kendisi arasında oldukça büyük farklılık vardır. Çizmeyi yirmi defa tekrarlar ve sonunda kalemlerini kırıp dışarı çıkar. Daha sonra Aynüddevle yaptığı resimleri Gürcü Hatun'a teslim eder. Bu resimler, Selçuklu sarayının damgalı kâğıtları üzerine çizilmiştir. Şu ana kadar bu eserlerin orijinali bulunamamıştır. Bu araştırmamızda; Mevlânâ'nın portresi olduğu iddia edilen altı eseri ele alıp hiçbirinin orijinal olmadığını ilmî gerekçelerle ortaya koymaya çalıştık.

2007

Osmanlı'da Dil ve Edebiyat, 2018

This paper will give a brief history of the Ottoman tazkira literature focusing primarily on the poet biographies (tazkira al-shu'arâ) and present two unique illustrated tazkiras, displaying both the verbal and visual traditions of the empire through the course of the political and social environment of the late sixteenth and seventeenth centuries. The tazkira genre will be discussed in terms of its valuable contribution to the Ottoman historiography and the illustrated manuscripts in question will reveal the paradigm shift in Ottoman painting. The general scope of the paper deals with two major texts and their unique illustrated copies: Âşık Çelebi’s (d. 1571-72) Meşâ'irü'ş-Şu'arâ (1568) in İstanbul Millet Library, Ali Emîrî Tarih 772 and Taşköprîzâde's (d. 1560-61) Tercüme-i Şakâ'ikû'n-nû'mânîye (1558), an abridged translation by Muhtasibzâde Mehmed Hâkî (d. 1567), in Topkapı Palace Museum Library H. 1263. Meşâ'irü'ş-Şu'arâ has eighty-eight portraits including the three tazkira writers, first eleven Ottoman sultans and seventy-four poets. The portraits of this undated copy seem to follow the style of the court painters. Tercüme-i Şakâ'ikû'n-nû'mânîye, on the other hand, was prepared during the reign of Osman II (r. 1618-1622) and has forty-nine paintings showing the scholars and shaykhs as well as the sultans together with them. The painter of this manuscript is known as Nakşî Bey. While the texts of Taşköprîzâde and Âşık Çelebi provide critical information on the life of the poets and men of religion (in other words the Ottoman intellectuals), their illustrated copies give the representations of these people in their intimate, social or royal environments. Although many studies were conducted on these and other unillustrated biographical works in terms of historical, literary and art historical context, the concept of illustrated texts always enables the social scientists approach them from a holistic aspect considering their verbal and visual value. This paper will present the differences of these two works in a comparative manner, discussing their importance both for the history of art and literature while the visual image of the Ottoman world of culture is displayed.