Page 87 - The Age of Sultan Suleyman the Magnificent

39b (above). View of Sultaniye from the Beyan-i Menazil-i Sefer-i Irakeyn of 40 (right). View of Genoa from the Tarih-i Feth-i Siklos, Estergon, ve
Matrakci Nasuh, c. 1537 (istanbul Université Kütüphanesi, T. 5964, fols. Estonibelgrad of Matrakci Nasuh, c 1545 (Istanbul, Topkapi Sarayi Miizesi, H.
32b-33a) 1608, fols. 32b-33a)

those employed in Piri Reis' works. Different models appear man, his home in the Calata section of istanbul the gathering
to have been used to represent the two fleets; the galleons in place of scholars and writers. He practiced poetry, wrote
the harbor, based on European prototypes, appear to belong about the victories of the grand admiral Sinan Pa§a, and fre-
to the Genoese, while those sailing in the foreground reveal a quently included couplets on his paintings. Nigari's strength
native style and presumably depict the Ottoman armada, led was portraiture, and his representations of Suleyman, Selim
by Barbaros Hayreddin Papa's flagship. The contrast between II, and Barbaros Hayreddin were painted from life on single
softly rounded hills, angular structures, and rhythmically sheets (see figs. 10 and 11). The artist appears to have been
curved sails is most effective. self-taught, formulating his own style and technique. His fig-
Nasuh's unique style, combining documentary depiction ures are large, boldly painted, and placed on a dark green
with masterful compositions, had a long-lasting impact on ground. His paintings are not as refined as those of the nak-
Ottoman painting, particularly on the tradition of illustrated ka^hane artists and lack their technical perfection; the sheets
histories. Another person whose paintings influenced the are not polished, the pigments are irregularly applied and
nakka§hane artists was Haydar Reis, who signed his works have started to flake. Nevertheless, Nigari promoted the genre
Nigari. A naval officer by profession, Nigari was a learned of portraiture, continuing the tradition begun in the 1480s by

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