Page 110 - The Age of Sultan Suleyman the Magnificent

blossoms with pods and leaves, tinted pink and blue. Since it NOTES
was rendered on a sheet smaller than that of the dragon, an
attempt was made to enlarge it by adding a wide pink border 1. The painters and bookbinders mentioned in the registers and other docu-
published in Meriç
1953,
decorated with a scroll composed of twisting feathery leaves ments 1979 and in an unpublished 1954, and 1963 together with those in Bar-
1566 are compiled
register of
kan
in Appendix
interspersed with blossoms and pods. The execution of this 3. The 1526 register is published in its entirety in Uzuncars,ili 1986.
border is as refined as the central unit and stylistically almost 2. For two documents related to the expenses of manuscripts commissioned
identical. The margins of this folio are also gold-speckled and by the palace between 1552/1553 and 1555/1556 see Appendix 2.
the same color as the one opposite it. 3. Uluçay 1970, 237-249.
It is highly possible that these two drawings were executed 4. SeeDamsjnan 1969-1971,2:207-334.
5.
by §ahkulu, who died a few years before the compilation of 6. Dam^man 1969-1971,2:287-290. renowned painters include Hasan
became
who
Later Enderun
members
the album. Kara Memi appears to have mastered his mentor's Pa§a, a famous statesman, who illustrated several official histories in 1570-
style, as observed in the decorations of the folios. It seems 1610 (Akalay 1979; and Atil 1980, 198 and 203-206, ills. 97-101). An-
logical that this imperial album, produced during the last other dignitary was Ahmed Naksj, an astronomer and the official timekeeper
years of Suleyman's reign, would contain not only the works of the Süleymaniye Mosque, who illustrated both literary and historical man-
and
1978a;
of the
uscripts during the first quarter
century
(Atil
seventeenth
of the great Iranian calligraphers but also those of the masters Atil 1980, 212-215, ill. 110 and pis. 30 and 31). Working in the early eigh-
of his own nakka§hane. teenth century was Abdulcelil Çelebi, known as Levni, thought to be also an
Enderun graduate (Atil 1980, 218-222, ills. 117-122, pis. 32 and 33).
7. The registers list several Hasans, three of them called Çelebi, an honorific
title, which makes the identification of the nakka§ba§i difficult. One Hasan
Çelebi was the father of an artist named Hüseyin and died during the reign
of Selim I; another was Büyük (Elder) Hasan Çelebi, presumably Hasan b.
Mehmed; a third was Kücük (Younger) Hasan Çelebi, or Hasan b. Abdulcelil.
See Appendix 3.
8. This document is partially published in Meriç 1953, no. LXXIV. In addi-
tion to the painters there were four musicians and eighteen others listed un-
der müteferrika, a term that included calligraphers, goldsmiths, metalworkers,
tile makers, and glassmakers.
9. Celalzade Mustafa (Koca Ni§anci) mentioned in his Selimname that on 13
September 1514 Bedi uz-Zaman arrived in Istanbul with his entire court of
scholars and artists (Topkapi Palace Museum, H. 1415, fol. 107a; Karatay
1961b, no. 635). The painters in Bedi üz-Zaman's retinue must have been
responsible for the strong impact of Herat found in Ottoman paintings. This
influence is described in Çagman 1978.
10. The flowering of the late Mamluk school of painting is discusssed in Atil
1984.
11. For a study of the illustrations in this work see Atil 1986.
12. Reproduced in Atil 1980, ill. 120.
13. Woodhead 1983, 159-161 and 179, quoting from A§ik Çelebi. See also
Appendix 2A.
14. For a study of cartoons and their application to other arts see Denny
1981.
15. For paintings produced during the reign of Mehmed II see Atil 1973b.
16. For a study of the calligraphers of the age see Derman 1970.
17. See Appendix 3.
18. For a study of sixteenth-century lacquer Ottoman bookbindings and
their prototypes see Tanindi 1984.
19. Works of this master goldsmith as well as the techniques and styles em-
ployed in the society are discussed in Çagman 1984. For the cover of the
Divan-i Muradi see Çagman 1984, figs. 1 and 2; Atil 1980, ill. 107; and istan-
bul 1983, E. 201.
20. See Umur 1980, 41 and 42.
21. Umur 1980, figs. 115-117.
22. Umur 1980, figs. 109-114 and 125-131; for the tugras of §ehzades
Mehmed and Bayezid see Umur 1980, figs. 123 and 124.
23. Istanbul 1983, E. 193. In addition, there is a large undecorated tugra of
Selim II in the Topkapi Palace Archives and possibly two more illuminated
but damaged examples dating from the seventeenth century in the Topkapi
Palace Library.

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