Publication: Safevî Nakkaşi Abdullah Şi̇razi̇ İmzali TSMK H. 986 numaralı Hâfız Dîvânı’nın tezhi̇p sanatı açısından değerlendi̇ri̇lmesi̇
Abstract
“Safevî Nakkaşı Abdullah Şîrâzî’nin TSMK. H. 986 No’lu Eseri’nin Tezyini Açıdan Değerlendirilmesi” başlığı altında incelediğimiz tezimizde hattat Sultan Hüseyin bin Kasım el-Tûnî tarafından yazılan Hâfız Dîvânı’nın tezyini unsurları ayrıntılı biçimde analiz edilerek sanatkârı ve üslubu hakkında detaylı bir araştırma yürütülmüştür. Ancak bunun öncesinde dönemin sanat anlayışını doğru kavrayabilmek için 16. Yüzyıl Safevi dönemi sanat atölyeleri ile ilgili bilgilere yer verilmiş, eserin nakkaşı Abdullah Şirazî’ye ait ulaşılabilen diğer imzalı eserler de toplanarak, değerlendirme bölümünde tartışılmak üzere bir araya getirilmiştir. Çalışmamız bu çerçevede dokuz bölümden meydana gelmektedir. tezi hazırlarken uyguladığımız yöntemi anlattığımız giriş kısmıdır. İkinci bölüm; 16. yüzyıl Safevî dönemi siyasi tarihinin ele alındığı, üçüncü bölüm ise; incelediğimiz eserin hazırlandığı dönemi ve sanatkârların içinde bulunduğu kültür sanat ortamını anlamamıza yardımcı olan Safevî dönemi mimarisi, tekstil ürünleri veya seramik eserlerine yer verilen bölümdür. Dördüncü bölümde; dönemin sanat atölyeleri ve bu atölyelerde hazırlandığı düşünülen eserler ile tespit edilen sanatkâr hakkında bilgiler paylaşılmıştır. Beşinci bölümde; tezimize konu olan müzehhib, musavvir ve mücellid olarak bilinen nakkaş Abdullah Şîrâzî’nin hayatı ele alınmıştır. Yine bu bölümde sanatkârın müzelere kayıtlı olduğu bilinen eserleri tespit edilmeye çalışılmış, görselleri ve künye bilgileri verilerek araştırma kaynakları listelenmiştir. Altıncı bölüm; tez kapsamında incelenen Hâfız Dîvânı’nın müellifi, mücellidi, hattatı ve musavviri hakkında bilgilerin değerlendirildiği bölümdür. Yedinci bölümde; TSMK H.986 numaralı eserin katalog bilgileri, dijital görselleri ile birlikte verilerek, tezhipli varaklar üzerinden sayfa tasarımı, motif ve kompozisyon seçimlerinin, ayrıntılı desen analizinin yapıldığı bölümdür. Ayrıca bu analizler neticesinde tespit edilen araştırma bulguları, bir tipoloji tablosu başlığında detaylı olarak verilmiştir. Sekizinci bölüm değerlendirme bölümüdür. Burada Abdullah Şîrazî imzası taşıyan ve tezimize konu olan TSMK H.986 numaralı Dîvân ile sanatkârın tespit edebildiğimiz diğer eserleri dönem ve üslup farklılıkları üzerinden, karşılaştırmalı olarak ele alınmış ve değerlendirilmiştir. Dokuzuncu ve son bölümde ise; araştırmamız sonucunda tespit ettiğimiz bulgular aktarılmıştır.
In our thesis, which we examined under the title The Illumination of Safavid Illuminator Abdullah Şîrâzî's Work No. 986 in TSMK. H. 986, the illumination elements of the Hâfız Dîvân written by the calligrapher Sultan Hüseyin bin Kasım al-Tûnî were analyzed in detail and a detailed research was conducted on the artist and his style. However, before this, in order to comprehend the artistic understanding of the period correctly, information about the art workshops of the 16th century Safavid period was included, and other accessible signed works by Abdullah Shirazī, the illuminator of the work, were collected and brought together to be discussed in the evaluation section. In this framework, our study consists of nine chapters. The first chapter is the introduction in which we explain the method we applied while preparing the thesis. The second chapter deals with the political history of the 16th century Safavid period, and the third chapter includes the Safavid period architecture, textile products or ceramic works that help us understand the period in which the work we examined was prepared and the culture and art environment in which the artists lived. In the fourth chapter, information about the art workshops of the period, the works thought to have been prepared in these workshops, and the identified artist are shared. In the fifth chapter, the life of Abdullah Shīrāzī, known as the illuminator, musavvir and mujellid, who is the subject of our thesis, is discussed. In this chapter, the works of the artist known to be registered in museums were tried to be identified, and research sources were listed by giving visuals and colophon information. The sixth chapter is the chapter in which information about the author, the illuminator, the calligrapher and the musavviri of Hâfız Dîvân, which is examined within the scope of the thesis, is evaluated. In the seventh chapter; the catalog information of the work numbered TSMK H.986 is given together with its digital visuals, and detailed pattern analysis of page design, motif and composition choices, and detailed pattern analysis are made on the illuminated varves. In addition, the research findings determined as a result of these analyzes are given in detail under the heading of a typology table. The eighth chapter is the evaluation section. Here, the Dîvân numbered TSMK H.986, signed by Abdullah Şîrazî and the subject of our thesis, and the other works of the artist that we have been able to identify are discussed and evaluated comparatively in terms of period and style differences. In the ninth and final chapter, the findings of our research are presented.
In our thesis, which we examined under the title The Illumination of Safavid Illuminator Abdullah Şîrâzî's Work No. 986 in TSMK. H. 986, the illumination elements of the Hâfız Dîvân written by the calligrapher Sultan Hüseyin bin Kasım al-Tûnî were analyzed in detail and a detailed research was conducted on the artist and his style. However, before this, in order to comprehend the artistic understanding of the period correctly, information about the art workshops of the 16th century Safavid period was included, and other accessible signed works by Abdullah Shirazī, the illuminator of the work, were collected and brought together to be discussed in the evaluation section. In this framework, our study consists of nine chapters. The first chapter is the introduction in which we explain the method we applied while preparing the thesis. The second chapter deals with the political history of the 16th century Safavid period, and the third chapter includes the Safavid period architecture, textile products or ceramic works that help us understand the period in which the work we examined was prepared and the culture and art environment in which the artists lived. In the fourth chapter, information about the art workshops of the period, the works thought to have been prepared in these workshops, and the identified artist are shared. In the fifth chapter, the life of Abdullah Shīrāzī, known as the illuminator, musavvir and mujellid, who is the subject of our thesis, is discussed. In this chapter, the works of the artist known to be registered in museums were tried to be identified, and research sources were listed by giving visuals and colophon information. The sixth chapter is the chapter in which information about the author, the illuminator, the calligrapher and the musavviri of Hâfız Dîvân, which is examined within the scope of the thesis, is evaluated. In the seventh chapter; the catalog information of the work numbered TSMK H.986 is given together with its digital visuals, and detailed pattern analysis of page design, motif and composition choices, and detailed pattern analysis are made on the illuminated varves. In addition, the research findings determined as a result of these analyzes are given in detail under the heading of a typology table. The eighth chapter is the evaluation section. Here, the Dîvân numbered TSMK H.986, signed by Abdullah Şîrazî and the subject of our thesis, and the other works of the artist that we have been able to identify are discussed and evaluated comparatively in terms of period and style differences. In the ninth and final chapter, the findings of our research are presented.
Description
Keywords
Abdullah Shīrazī, Abdullah Şîrazî, Dīvān, Dîvân Safavid, Illumination, Illumination of books and manuscripts, Iranian, Kazvin, Mashhad, Meşhed, Miniature, Miniature painting, Miniature painting, Iranian, Minyatür, Minyatür resim, İran, Qazvin, Safevî, Shah Tahmasb, Şah Tahmasb, Tezhip, Tezhip, Kitaplar ve el yazmalarının, İran