Remarks on the Mamluk Mushaf in the Istanbul Museum of Turkish and Islamic Arts

Süleyman Berk

Makale detayları

Remarks on the Mamluk Mushaf in the Istanbul Museum of Turkish and Islamic Arts

Yazarlar:

Süleyman Berk

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

İslam Araştırmaları (Diğer)

Dergi:

Dini Araştırmalar Issue 67, pp.59-94

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001334247

pISSN:

1301-966X

Anahtar kelimeler:

Özet:

 It is understood based on the works collected from mosques, mausoleums, museums, and libraries that many Mushaf-i Sharîf came to Dersaâdet, the seat of the Ottoman Empire, during the Mamluk period and that they were endowed for preservation from the beginning of the nineteenth century. The art of Islamic writing focused on the development of orthography at the beginning.After the first century, studies were made on the aesthetics of writing. As a result of these efforts during the Abbasid period, it is seen that writing was regulated and diversified based on rules. The Muhaqqaq and Reyhâni styles used in the process of Mushaf writing during the Mamlūk period were used as Mushaf scripts until the Ottoman calligraphist Sheikh Hamdullah 1429-1520. In this Mushaf, it is possible to see the development of the Muhaqqaq script and the level it reached during the Mamlūk period in its historical course. The article aims to present an example to todays artists in terms of both the art of writing and the art of ornamentation. The letters of the Mushaf, written in Zer ink, are engraved with black ink. The gestures are written in black ink. The letters in the line are on the pulpit and reflect the characteristics of the period in terms of writing. The writings at the beginning of the sūrah are in Sulus calligraphy. It is to put forward original examples in Muhaqqaq writing, which is used again in todays writing art. Another aim is to make corrections regarding the calligraphy of the Mushaf. The name Muhammad b. Saud al-Shafii is mentioned in the ferag record of the tafsir section of the Mushaf. This is not the calligrapher of the Mushaf, but the author of the commentary. Therefore, the calligrapher of the Mushaf is not known. This work, which is an outstanding example of Islamic Book Art with its illuminations and binding covers, is also important in terms of reflecting the style and technique of a certain period. A Mushaf from the 15th century in the Istanbul Museum of Turkish and Islamic Art TIEM is one of the important works that conveys the perfection of Mamluk period book art to the present day. The Mushaf, written for the treasury of the Mamlūk Sultan Kayıtbay 1468- 1496, the patron of book art, has 9 lines and 463 leaves. The cherry-colored leather binding with a salbeck and oval umbrella and a miklep dates from the period. An important feature of this Mushaf is the explanation of the word meanings of the verses in Arabic under the title of the sūrah from 439b to 462b. This is what makes this Mushaf important. The presence of Sultan Bâyezid IIs foundation seal on the Mushaf indicates that the Mushaf entered the palace during the reign of Sultan Bâyezid II. The work can be dated between 1480 and 1490. It is understood from the record written in Arabic dated 11321719 that Sultan Ahmed III donated it to be placed in the Gülnûş Emetullah Valide Sultan Mosque, which his mother had built in Üsküdar.

 It is understood based on the works collected from mosques, mausoleums, museums, and libraries that many Mushaf-i Sharîf came to Dersaâdet, the seat of the Ottoman Empire, during the Mamluk period and that they were endowed for preservation from the beginning of the nineteenth century. The art of Islamic writing focused on the development of orthography at the beginning.After the first century, studies were made on the aesthetics of writing. As a result of these efforts during the Abbasid period, it is seen that writing was regulated and diversified based on rules. The Muhaqqaq and Reyhâni styles used in the process of Mushaf writing during the Mamlūk period were used as Mushaf scripts until the Ottoman calligraphist Sheikh Hamdullah 1429-1520. In this Mushaf, it is possible to see the development of the Muhaqqaq script and the level it reached during the Mamlūk period in its historical course. The article aims to present an example to todays artists in terms of both the art of writing and the art of ornamentation. The letters of the Mushaf, written in Zer ink, are engraved with black ink. The gestures are written in black ink. The letters in the line are on the pulpit and reflect the characteristics of the period in terms of writing. The writings at the beginning of the sūrah are in Sulus calligraphy. It is to put forward original examples in Muhaqqaq writing, which is used again in todays writing art. Another aim is to make corrections regarding the calligraphy of the Mushaf. The name Muhammad b. Saud al-Shafii is mentioned in the ferag record of the tafsir section of the Mushaf. This is not the calligrapher of the Mushaf, but the author of the commentary. Therefore, the calligrapher of the Mushaf is not known. This work, which is an outstanding example of Islamic Book Art with its illuminations and binding covers, is also important in terms of reflecting the style and technique of a certain period. A Mushaf from the 15th century in the Istanbul Museum of Turkish and Islamic Art TIEM is one of the important works that conveys the perfection of Mamluk period book art to the present day. The Mushaf, written for the treasury of the Mamlūk Sultan Kayıtbay 1468- 1496, the patron of book art, has 9 lines and 463 leaves. The cherry-colored leather binding with a salbeck and oval umbrella and a miklep dates from the period. An important feature of this Mushaf is the explanation of the word meanings of the verses in Arabic under the title of the sūrah from 439b to 462b. This is what makes this Mushaf important. The presence of Sultan Bâyezid IIs foundation seal on the Mushaf indicates that the Mushaf entered the palace during the reign of Sultan Bâyezid II. The work can be dated between 1480 and 1490. It is understood from the record written in Arabic dated 11321719 that Sultan Ahmed III donated it to be placed in the Gülnûş Emetullah Valide Sultan Mosque, which his mother had built in Üsküdar.

 It is understood based on the works collected from mosques, mausoleums, museums, and libraries that many Mushaf-i Sharîf came to Dersaâdet, the seat of the Ottoman Empire, during the Mamluk period and that they were endowed for preservation from the beginning of the nineteenth century. The art of Islamic writing focused on the development of orthography at the beginning.After the first century, studies were made on the aesthetics of writing. As a result of these efforts during the Abbasid period, it is seen that writing was regulated and diversified based on rules. The Muhaqqaq and Reyhâni styles used in the process of Mushaf writing during the Mamlūk period were used as Mushaf scripts until the Ottoman calligraphist Sheikh Hamdullah 1429-1520. In this Mushaf, it is possible to see the development of the Muhaqqaq script and the level it reached during the Mamlūk period in its historical course. The article aims to present an example to todays artists in terms of both the art of writing and the art of ornamentation. The letters of the Mushaf, written in Zer ink, are engraved with black ink. The gestures are written in black ink. The letters in the line are on the pulpit and reflect the characteristics of the period in terms of writing. The writings at the beginning of the sūrah are in Sulus calligraphy. It is to put forward original examples in Muhaqqaq writing, which is used again in todays writing art. Another aim is to make corrections regarding the calligraphy of the Mushaf. The name Muhammad b. Saud al-Shafii is mentioned in the ferag record of the tafsir section of the Mushaf. This is not the calligrapher of the Mushaf, but the author of the commentary. Therefore, the calligrapher of the Mushaf is not known. This work, which is an outstanding example of Islamic Book Art with its illuminations and binding covers, is also important in terms of reflecting the style and technique of a certain period. A Mushaf from the 15th century in the Istanbul Museum of Turkish and Islamic Art TIEM is one of the important works that conveys the perfection of Mamluk period book art to the present day. The Mushaf, written for the treasury of the Mamlūk Sultan Kayıtbay 1468- 1496, the patron of book art, has 9 lines and 463 leaves. The cherry-colored leather binding with a salbeck and oval umbrella and a miklep dates from the period. An important feature of this Mushaf is the explanation of the word meanings of the verses in Arabic under the title of the sūrah from 439b to 462b. This is what makes this Mushaf important. The presence of Sultan Bâyezid IIs foundation seal on the Mushaf indicates that the Mushaf entered the palace during the reign of Sultan Bâyezid II. The work can be dated between 1480 and 1490. It is understood from the record written in Arabic dated 11321719 that Sultan Ahmed III donated it to be placed in the Gülnûş Emetullah Valide Sultan Mosque, which his mother had built in Üsküdar.

 Dünya Osmanlı Devletinin makarr-ı saltanatı olan Dersaâdete, Memlûkler zamanında birçok Mushaf-ı Şerîfin geldiği; XIX. yüzyılın başlarından itibaren muhafaza edilmek üzere vakfedildikleri camilerden, türbelerden, müze ve kütüphâne koleksiyonlarına toplanan eserlerden anlaşılmaktadır. İslâm yazı sanatı, başlangıcında imlâ gelişimine odaklanmış, bu meyanda ilk asır sonrası yazı estetiği üzerine çalışmalar yapılmıştır. Abbâsîler döneminde görülen bu gayretler neticesi yazının kurallara bağlandığı ve çeşitlendiği görülmüştür. Bunlardan Memlûk döneminde, Mushaf yazımında kullanılan Muhakkak ve Reyhâni yazı çeşidi Osmanlıda Hattat Şeyh Hamdullaha 1429- 1520 kadar Mushaf yazısı olarak kullanılmıştır. Tarihî seyri içerisinde Memlûkler döneminde Muhakkak yazının gelişimini ve ulaştığı seviyeyi bu Mushafta görmek mümkündür. Makalenin amacı gerek yazı sanatı gerekse süsleme sanatı açısından günümüz sanatkârlarına bir örnek sunmaktır. Mushafta Zer mürekkeple yazılan harflerin etrafı siyah mürekkeple tahrirlenmiş, harekeler ise siyah mürekkeple yazılmıştır. Satırlarda harfler kürsüsünde olup, hat olarak da döneminin özelliklerini aksettirmektedir. Sûre başı yazıları ise Sülüs hat iledir. Görülmektedir ki Mushaf, günümüz yazı sanatında çokça kullanılan Muhakkak yazıya dâir özgün örnekleri ortaya koymaktadır. Araştırmadaki bir diğer gaye de Mushafın hattatı ile ilgili tashihte bulunmaktır. Mushafın, tefsir kısmının ferağ kaydında, Muhammed b. Suûd eş-Şâfiî ismi geçmektedir. Bu Mushafın hattatı olmayıp tefsirin müellifidir. Dolayısıyla Mushafın hattatı belli değildir. Mushafın tezhipleri ve cilt kapakları ile İslâm Kitap Sanatının göz alıcı örnekleri olan bu eser belli bir dönemin üslûbunu ve tekniğini yansıtması bakımından önemlidir. XV. yüzyıldan İstanbul Türk ve İslâm Eserleri Müzesi TİEMnde bulunan bu Mushaf, Memlûk dönemi kitap sanatının ulaştığı mükemmelliği günümüze ulaştıran önemli eserlerdendir. Kitap sanatının hâmisi, Memlûk Sultanı Kayıtbayın 1468-1496 hazinesi için yazılan Mushaf, 9 satırlı ve 463 yapraktan müteşekkildir. Salbekli ve oval şemseli, miklepli vişne rengi deri cildi döneminden kalmadır. Bu Mushafın önemli bir özelliği de 439b- 462bye kadar yine sûre başlığı altında, âyetlerin kelime anlamlarının Arapça olarak izah edilmesidir. Mushafta Sultan II. Bâyezidin vakıf mührünün bulunması, Mushafın Sultan II. Bâyezid döneminde Saraya girdiğini göstermektedir. Eser, 1480- 1490 yılları arasına tarihlenebilir. Sultan III. Ahmedin annesinin Üsküdarda yaptırmış olduğu Gülnûş Emetullah Vâlide Sultan Camiine konulmak üzere vakfettiği h. 11321719 tarihli Arapça yazılmış olan kayıttan anlaşılmaktadır.

Makale detayları

Remarks on the Mamluk Mushaf in the Istanbul Museum of Turkish and Islamic Arts

Yazarlar:

Süleyman Berk

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

İslam Araştırmaları (Diğer)

Dergi:

Dini Araştırmalar Issue 67, pp.59-94

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001334247

pISSN:

1301-966X

Turkish Islamic Arts

Mamluks

Muhaqqaq Calligraphy

Mushaf

Illumination

BindingTürk İslâm Sanatları

Memlûkler

Muhakkak Hat

Mushaf

Tezhip

Cild

Sayı

Makale detayları

Yazarlar: Süleyman Berk

Yayıncı: Motif Yayıncılık

Ana Başlıklar: İslam Araştırmaları (Diğer)

Dergi: Dini Araştırmalar Issue 67, pp.59-94

Belge Tipi: Makale

Yayın Tarihi: 12/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001334247

pISSN: 1301-966X

Sayı

Yazarlar:

Süleyman Berk

Yayıncı:

Motif Yayıncılık

Ana Başlıklar:

İslam Araştırmaları (Diğer)

Dergi:

Dini Araştırmalar Issue 67, pp.59-94

Belge Tipi:

Makale

Yayın Tarihi:

12/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001334247

pISSN:

1301-966X