Publication: Darü’l-Kütübi’l Mısriyye’deki Memlük sultanlarının temellükünde bulunan mushafların hat ve tezyini yönden incelenmesi
Abstract
Bu araştırma, Kahire’deki Dârü’l-Kütübi’l-Mısriyye koleksiyonunda bulunan ve Memlük sultanları tarafından temellük edilmiş olan mushafları, hat, tezhip sanatı açısından kapsamlı bir şekilde incelemeyi amaçlamaktadır. Memlükler dönemi (1250-1517), İslam sanatının özellikle kitap sanatları alanında zirve yaptığı bir dönem olarak kabul edilmektedir. Bu çalışmada, Memlük mushaflarının sanatsal özellikleri, tarihsel ve sosyo-kültürel bağlamlarıyla birlikte ele alınmıştır. Çalışmanın merkezinde, Kahire’de bulunan Dârü’l-Kütübi’l-Mısriyye koleksiyonundaki, Memlük sultanlarının himayesinde yazdırılmış veya temellük edilmiş dokuz Kur’ân-ı Kerîm yer almaktadır. Bu mushaflar; sanat üslupları, istinsah edildikleri dönemin tarihî ve sosyo-kültürel bağlamı, hazırlandıkları atölyeler ve saray himayesiyle birlikte çok yönlü bir yaklaşımla değerlendirilmiştir. Tez kapsamında öncelikle Memlük Türk Devleti’nin siyasî ve kültürel tarihi ile Memlük döneminde sanatın genel yapısı incelenmiş; ardından Memlüklerde mushaf istinsahı, hat ve tezhip sanatı yönünden detaylandırılmıştır. Mushafların tarihsel arka planı ve Memlük toplumundaki yeri analiz edilmiş; tek ciltte yazılmış mushaflar, cüzler ve bunların kullanımı üzerine bilgiler verilmiştir. Ayrıca Memlük mimarisi ile mushaf sanatı arasındaki ilişkiler tartışılmış; döneme ait önemli mushaflar hat, tezhip ve cilt özellikleri açısından değerlendirilmiştir. Çalışmada, Memlük sultanlarının mushaf hâmîliği, dönemin hat ve tezhip sanatçıları ile atölyeleri, kullanılan süsleme motifleri ve üslûplar detaylı biçimde ele alınmıştır. Tez çalışmasının uygulamalı bölümünde, Dârü’l-Kütübi’l-Mısriyye koleksiyonunda yer alan ve Memlük dönemine ait dokuz Kur’ân-ı Kerîm katalog örneği seçilerek, bu mushafların hat, tezhip ve cilt özellikleri yönünden kapsamlı tahlilleri yapılmıştır. Yapılan analizler ışığında Memlük döneminin mushaf sanatı sadece estetik açıdan değil; aynı zamanda dönemin sosyo-politik ve kültürel yapısını yansıtan belgeler olarak ele alınmıştır.
This thesis aims to conduct a comprehensive analysis of Qurʾanic manuscripts housed in the Dār al-Kutub al-Miṣriyya collection in Cairo, which were either commissioned or appropriated by the Mamluk sultans, focusing on aspects of calligraphy and illumination art. The Mamluk period (1250–1517) is widely regarded as a pinnacle era in Islamic art, particularly in the realm of book arts. Within this study, the artistic features of Mamluk Qurʾans are examined in conjunction with their historical and socio-cultural contexts. At the center of this research are nine Qurʾanic manuscripts from the Dār al-Kutub al Miṣriyya collection in Cairo, all of which were either produced under the direct patronage of Mamluk sultans or later came into their possession. These manuscripts are explored with attention to their artistic styles, the historical and socio-cultural environments in which they were produced, the scriptoria and workshops that preserved them, and the court patronage under which they were supported. The thesis first explores the political and cultural history of the Mamluk Sultanate and the general characteristics of art during this period. It then delves into Qurʾan production in the Mamluk era with a particular emphasis on calligraphy and illumination. The historical background and social function of the Qurʾan manuscripts are analyzed, with consideration given to complete codices, single-volume manuscripts, and individual ajzāʾ, along with their usage. The study discusses the connections between Mamluk architecture and Qurʾanic manuscript art. Notable Qurʾans from the period are evaluated in terms of their calligraphic, illuminative, and binding features. The thesis offers an in-depth exploration of the Mamluk sultans' patronage of Qurʾanic manuscripts, the calligraphers and illuminators of the era in which they operated, and the decorative motifs and stylistic elements employed. In the applied section of the thesis, nine catalogued Qurʾans from the Dār al-Kutub al Miṣriyya collection, all dating to the Mamluk period, were selected for detailed analysis. These manuscripts were thoroughly examined with respect to their calligraphy, illumination, and binding. Through these analyses, the thesis considers Mamluk Qurʾanic manuscript art not only from an aesthetic perspective but also as documentary evidence reflecting the socio political and cultural structures of the period.
This thesis aims to conduct a comprehensive analysis of Qurʾanic manuscripts housed in the Dār al-Kutub al-Miṣriyya collection in Cairo, which were either commissioned or appropriated by the Mamluk sultans, focusing on aspects of calligraphy and illumination art. The Mamluk period (1250–1517) is widely regarded as a pinnacle era in Islamic art, particularly in the realm of book arts. Within this study, the artistic features of Mamluk Qurʾans are examined in conjunction with their historical and socio-cultural contexts. At the center of this research are nine Qurʾanic manuscripts from the Dār al-Kutub al Miṣriyya collection in Cairo, all of which were either produced under the direct patronage of Mamluk sultans or later came into their possession. These manuscripts are explored with attention to their artistic styles, the historical and socio-cultural environments in which they were produced, the scriptoria and workshops that preserved them, and the court patronage under which they were supported. The thesis first explores the political and cultural history of the Mamluk Sultanate and the general characteristics of art during this period. It then delves into Qurʾan production in the Mamluk era with a particular emphasis on calligraphy and illumination. The historical background and social function of the Qurʾan manuscripts are analyzed, with consideration given to complete codices, single-volume manuscripts, and individual ajzāʾ, along with their usage. The study discusses the connections between Mamluk architecture and Qurʾanic manuscript art. Notable Qurʾans from the period are evaluated in terms of their calligraphic, illuminative, and binding features. The thesis offers an in-depth exploration of the Mamluk sultans' patronage of Qurʾanic manuscripts, the calligraphers and illuminators of the era in which they operated, and the decorative motifs and stylistic elements employed. In the applied section of the thesis, nine catalogued Qurʾans from the Dār al-Kutub al Miṣriyya collection, all dating to the Mamluk period, were selected for detailed analysis. These manuscripts were thoroughly examined with respect to their calligraphy, illumination, and binding. Through these analyses, the thesis considers Mamluk Qurʾanic manuscript art not only from an aesthetic perspective but also as documentary evidence reflecting the socio political and cultural structures of the period.