Page 95 - The Age of Sultan Suleyman the Magnificent

plays yet other features of the artist: his great sense of com-
position, crisp draftsmanship, and ability to create a pano-
ramic scene on a mere double folio. The fortress, constructed
as three independent enclosures connected by bridges and
surrounded by a moat, is heavily fortified with additional
walls protecting the inner city on the right of the largest en-
closure. The Ottomans have besieged the fortress, which is to-
tally engulfed by their tents and strategically placed barri-
cades, with cannons firing at its walls.
The imperial tent, in a group of other tents bounded by a
fence, appears in the center of the foreground. It has a can-
opy over the entrance, which is flanked by two towers, re-
sembling the first gate of the Topkapi Palace. Another large
tent, also with a canopy over its entrance, is placed on the
upper right; it most likely belonged to the grand vezir So-
kollu Mehmed Pa§a, who was the second in command. The
representation of Szigetvár, crammed with red-roofed build-
ings, recalls the topographical scenes of Nasuh and shows the
persistence of that tradition.
Osman's style also appears in the Tarih-i Sultan Süleyman
written by Lokman, who served as the §ahnameci between
1569 and 1595 and worked exclusively with this painter and
his assistants. The manuscript, completed in 1579/1580, was
conceived as the final chapter of Arifi's Süleymanname, using
the same meter and concluding with the death of the sultan. 43a. Sultan Süleyman praying at the Mausoleum of Eyüb Ensari
One of the paintings represents Süleyman praying at the from the Tarih-i Sultan Süleyman of Lokman transcribed in 15797
Mausoleum of Eyüb Ensari (43a). Eyüb Ensari, a revered 1580 (Dublin, The Chester Beatty Library, MS. 413, fol. 38a)
martyr, was the Prophet Muhammed's companion and stan-
dard-bearer who died during the first Arab siege of the city in
the 670s. A mosque with dependencies was built near his
tomb by Mehmed II after the conquest of Istanbul and the
district, called Eyüb Sultan, became the burial site of many
famous people, including Ahmed Feridun Pa§a, the author of identify and date some existing objects.
the Szigetvár chronicle. To the Ottomans the Mausoleum of The illustrations in the Tarih-i Sultan Süleyman also repre-
Eyüb Ensari was one of the most important pilgrimage sites sent the ailing sultan, supported by his grand vezir, leading
after Mecca, Medina, and Jerusalem. It was also where the his men to Szigetvár and the siege and fall of the fortress;
sultans girded themselves with the sword of Osman, the events following his death on the eve of 7 September 1566;
founder of the dynasty, as part of their accession ceremonies. and the return of the armed forces to Belgrade. The latter
In the painting Süleyman stands with his hands held in scene (43b), spread to double folios, shows various regiments
prayer in front of the domed mausoleum, which has an proceeding slowly and silently through mountainous terrain,
arched doorway; inside is a mosque lamp suspended over an bearing in their midst the carriage containing Süleyman's cof-
open rahle (folding bookstand). The sultan is joined by sev- fin, which is identified by a solitary imperial turban, the sym-
eral vezirs and attendants including three members of the Has bol of his rank. In the foreground an officer leads the sultan's
Oda, one carrying his sword and another holding his matara riderless horse, followed by the grand vezir Sokollu Mehmed
(canteen). A large candlestick placed on a stand appears on Paca and a group of commanders. Cavalrymen, flag bearers,
the right, behind which is a religious dignitary, possibly the the military band, janissaries, and other corps move in an or-
ceyhulislam. Imperial guards and horses wait outside the high derly fashion, displaying the full majesty and legendary disci-
wall enclosing the structure. pline of the Ottoman forces. A solemn and somber mood pre-
This painting, which contains the earliest representation of vails over the scene, expressing dignified control over the
the Mausoleum of Eyüb Ensari, depicts in detail the personal sorrow and despair felt by the men at the loss of their be-
regalia of the sultan—his sword and matara—and specific loved sultan and leader.
tomb furnishings—mosque lamp, rahle, and candlestick. The The same sobriety is observed in the following double folio
artist's careful representation of these items enables us to (43c), the left half of which represents the new sultan, Selim

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