I türkoloji Qurultayın 90 illiyinə həsr olunmuş beynəlxalq konfrans
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На протяжении многих веков Османская империя вызывала живейший интерес у всего остального мира и являлась объектом пристального внимания и тщательного изучения. Многочисленные посольства и экспедиции были снаряжены для исследования не только политической, но и культурной жизни данного государства. Результатом этих путешествий явилось написание многочисленных мемуаров, описывающих жизнь империи «изнутри». Сейчас, эти мемуары позволяют нам составить представление об Османской империи не
I Türkoloji Qurultayın 90 illiyinə həsr olunmuş beynəlxalq konfrans:
TÜRKOLOJİ ELMİ-MƏDƏNİ HƏRƏKATDA ORTAQ DƏYƏRLƏR VƏ YENİ ÇAĞIRIŞLAR (I hissə)
468 только через официальные хроники и документы, но и понаблюдать за ней «вживую», глазами будь, то простых путешественников, или участников важных для империи исторических событий, иностранцев разных социальных сословий и индивидуальных миссий. Особый интерес в этом плане представляют ряд мемуаров, в которых описание Османской империи 19 века дается через собственный опыт проживания авторов в этом государстве. Среди таких мемуаров в качестве примера можно привести мемуары графа Хельмута Карла Бернхарда фон Мольтке-старшего, германского генерал-фельдмаршала, военного теоретика, который наряду с Бисмарком и Рооном считается одним из основателей
Германской империи 1871 года. Меритократия, появившаяся на Востоке задолго до Западной Европы, широко практиковалась в Османской империи, которая не раз приглашала иностранных специалистов для проведения в жизнь идей, заложенных в основу прогрессивных на то время реформ. Хельмут Мольтке-старший был один из таких специалистов, приглашенных султаном Махмудом II в качестве военного советника. Кроме того, немалый интерес вызывают путевые заметки французского художника, иллюстратора и керамиста Теофила Дейроля. Начав свое путешествие на Восток с Турции в 1869 году, он прошел большое расстояние от Трабзона до Эрзурума, что нашло свое отражение в мемуарах и художественном альбоме зарисовок. Интересное описание жизни в Османской Турции можно также почерпнуть из мемуаров священнослужителей Американской и Английской христианской миссий Уильяма Гудела и Генри Кристмаса. Изучение данных мемуаров позволяет с различных сторон подойти к пониманию истории Османской империи 19 века: с военной точки зрения, с точки зрения религиозного плюрализма и с призмы бытовой жизни.
Lalə İsmayılova
QOPUZ ALƏTİ MÜXTƏLİF TÜRK XALQLARINDA Qopuzun yaranma tarixi eramızdan çox-çox əvvəllərə aid edilir. Alət haqqında ilk məlumata uyğur Koço dövlətinə elçi göndərilmiş Vanyen-Tenin (982 il) kitabında rast gəlirik. Uyğurların mahnı oxuyarkən çaldıqları əsas musiqi aləti qopuzdur. Güman ki, "qopuz" sözü etimoloji cəhətdən qop qədim türkcə "ucalıq", "yüksəklik", uz isə "avaz", "sehrli musiqi ahəngi" anlamını verir. Sözün başqa etimoloji açıqlamaları da olmuşdur. Mahmud Kaşqarlı qopuzu uda bənzər çalğı aləti kimi təqdim edir. Əldə olan bilgilərə əsasən ozanların, baxşıların, akınların, kayçıların, esençilərin istifadə etdikləri qopuzun müxtəlif növləri vardır. Qopuzi-rumi uda oxşar olub, beş tellidir. Bu, Kaşqarlı lüğətində təsvir olunan Orta Asiya qopuzunun eynidir. Qopuz hazırda qırğızların, altayların arasında yaşamaqdadır. Türk xalqlarından biri olan Qırğızlarda da qopuz aləti mövcuddur. Lakin onlar bu aləti “komuz” adlandırırlar. Əfsanəsi görə qədim ovçu Kambarom bu 3 hissəli aləti ilk musiqi aləti hesab etmişdir. Bu alət əksər hallarda oturaraq üfüqi vəziyyətdə ifa olunur, nadir hallarda aləti ayaq üstə ifa edərlər. Qazaxlarda qopuz alətinə “Kobız” aləti deyirlər. Ən qədim simli kamanlı alətdir və onun çanağı bütöv ağac parçasından hazırlanır. Qazax xalqının da təsəvvüründə, kobız aləti Dədə Qorqudun adı ilə bağlıdır və şamanların əsas atributu sayılır. Özbəklərdə də qopuz aləti mövcuddur və onlar kobuz adlandırırlar. Türk dövlətləri arasında məhz Türkmənistanda da qopuz aləti mövcuddur. Olar da bizim kimi qopuz adlandırırlar. Çox qədim alətdir, əsasən qadınlar arasında ifa edilmişdir. Türkmən qadınların I Türkoloji Qurultayın 90 illiyinə həsr olunmuş beynəlxalq konfrans:
TÜRKOLOJİ ELMİ-MƏDƏNİ HƏRƏKATDA ORTAQ DƏYƏRLƏR VƏ YENİ ÇAĞIRIŞLAR (I hissə)
469 ənənəsi olan “ uzuklar-ın” qədim əfsanəsində qopuzun ifası, onun musiqi sədaları altında rəqs etməkləri və onun müşayiəti ilə “laylalar” söylənilməsi təsvir olunur.
Lala İsmayılova Gobuz in different Turkic people Summary
The komuz or qomuz Kyrgyz комuz, Azerb. Gopuz, Turkish Kopuz, is an ancient fretless string instrument used in Central Asian music, related to certain other Turkic string instruments and the lute. Qubuz is a village in Qaranqu Rural District, in the Central District of Hashtrud County, East Azerbaijan Province, Iran. Key words: gopuz, Dada Gorgud, music, Turkic people
Haldun Ozbudun, doktorant Azerbaijan State University of Culture and Arts haldun.ozbudun@gmail.com
TABRIZI INFLUENCE ON PAINTING IN OTTOMAN TURKEY Although the primary duty of the artists of the Kitabhaneh was to illuminate and illustrate religious, literary, and historical texts, their energies were not totally consumed by the production of manuscripts. They also executed single paintings and drawings that were free from the restrictions of the texts. These individual studies were so highly regarded that they were later incorporated into imperial albums. Compilation of the works of esteemed calligraphers and painters into albums was a special form of art; single sheets were organized in a predetermined sequence and pasted onto the pages alone or in groups; the margins were carefully designed and decorated to enhance the contents; and finally the folios were compiled and the volume was bound. The murakka or album, is a type of codex that brings together single-folio works of renowned contemporary and past calligraphers, artists, illuminators and paper cutters in a single volume. As distinct from illustrated manuscripts, the paintings, drawings, illuminations, or calligraphic examples in a murakka are not necessarily connected to a specific text. In other words, while the intention of compiling a murakka-album is occasionally to protect and preserve, the main objective is to form a collection of works of fine art that are deemed "valuable." Apart from illuminators, painters and scribes, secondary level masters were also instrumental in meticulously pasting works one by one on the pages of a murakka, for they skillfully joined the papers without a trace. Although their date and provenance varied, these single-folio works were placed on the same page with careful calculation, skill, and harmony. Some of the albums prepared for an important patron would contain a preface (mukaddima) that would identify the album compiler and the patron, and would sometimes include the biographies of Islamic manuscript artists. The murakka would then be bound in an equally well-made binding. While the earliest examples of such works point to the existence of a tradition that dates as far back as the fifteenth century, the spread of murakka production as a distinct branch of Islamic art of the book and the subsequent examples that epitomize this art form emerge towards the mid-sixteenth century. Numerous murakkas prepared for rulers, princes, and other members : the ruling class have survived, particularly from the sixteenth century Safavid period. From the second half of the same century onwards, Uzbek and Mughal artists just like Tabrizi masters also assembled albums for the court elite. The earliest examples of select albums designed at Tabriz in the Safavid royal studio are dated to the mid-sixteenth century. Possibly prepared for Shah, such examples includes a diverse collection: several drawings in the kalem-i siyahi technique, extraordinary illuminations attributed
I Türkoloji Qurultayın 90 illiyinə həsr olunmuş beynəlxalq konfrans:
TÜRKOLOJİ ELMİ-MƏDƏNİ HƏRƏKATDA ORTAQ DƏYƏRLƏR VƏ YENİ ÇAĞIRIŞLAR (I hissə)
470 to the most famous illuminators of the period, the works of renowned Safavid calligraphers, and a paper-cut image. Designed with outstanding mastery, these albums were possibly created towards the end of the sixteenth century to bring together unique works collected in the palace treasury. The various calligraphic examples, the illuminations and the brush-work ink drawings all indicate that the album was prepared in the third quarter of the sixteenth century. It does not contain any works that can be ascribed to a later date. The well-known Murad III album includes drawings by Ottoman and Safavid artists executed in saz style in the kalem-i siyahi technique that can be dated to the second half of the sixteenth century as well as single-figures by Velijan and Riza. paintings by Ottoman and Safavid artists, full- page [levha] illuminations by illuminators, calligraphic works of fifteenth and sixteenth century Timurid, Turcoman, Safavid and Ottoman calligraphers, and a paper-cut garden similar to the previous album. The albums prepared at the Ottoman imperial studio are not limited to these two examples. The majority of kalem-i siyahi illustrations in these albums are attributed to Shah Kulu (d. 1556), who worked at the Ottoman imperial studio between 1520 and 1556. Virtually all the works attributed to him are executed in the saz style with kalem-i siyahi technique. The Turkish word saz denotes a dense forest in which lions, dragons, monkeys, phoenixes, various birds, and all kinds of wild creatures live. The word originates from Far Eastern and Central Asian mythology. The first examples of the illustrations in this style were executed with black ink and brush by Ilkhanid, Jalayirid, Timurid and Turkman artists as of the fourteenth century. One of the most outstanding Tabrizi artists that contributed to Ottoman painting and decoration, Shah Kulu reinterpreted this style at the Ottoman Palace. The earliest information on Shah Kulu is encountered in a salary register of the court artists dated to 1526 (932 AH). Referred to as a painter in the register. Shah Kulu is listed in the foremost rank of the painter-illuminators. In the document Shah Kulu is recorded as an exile from Tabriz who came to Amasya and was later transferred to the imperial allocations in Istanbul. He was enrolled in the salary register in December 1520 (Muharrem 927 AH). In subsequent salary registers dated to the months of March-May 1545 (Safar-Rabi I 952 AH), it appears that Shah Kulu was the head of the group of painter-illuminators of Anatolian origin as the creator of an innovative brush technique. Tabrizi painter Shah Kulu's contributions towards Turkish decorative arts were also recognized by Mustafa Ali of Gelibolu who wrote his Menakib-i Hunerveran (Artists' Exploits) on the calligraphers, illuminators and painters. Ali states that Shah Kulu arrived in Vilayet-i Rum (Anatolia) during the reign of Siileyman I. He adds that a private, independent studio was given to him at the Palace where the sultan would occasionally watch him work, and that he was appointed as the head of old and new masters. Noting that Shah Kulu was a pupil of Aga Mirak of Tabriz royal kitabkhaneh, he recognizes the former as the inventor of a new popular style that confirms the verse, "the art of a newcomer is lovelier than that of his predecessor." By wishing that his nature were just as beautiful as his art, Mustafa Ali clearly points to Shah Kulu's bad temper and mentions that he would be more famous than Behzad otherwise. Shah Kulu was also a famous poet, writing under the pen name Penahi. In his celebrated biographical work, Ashik Chelebi (d. 1571) provides us with an extraordinary medhiye (eulogizing poem) on Shah Kulu's artistic skills: "... He was the second Mani in painting. Perhaps Mani was his chartered slave. If he were to make seven kinds of illumination (nakish), eight heavens would be jealous... If he were to paint spring flowers, spring would arrive in wintertime. Sources also reveal the date of Shah Kulu's death. A document pertaining to the rewards the sultan distributed for the bayram of 1556 (963 AH) announces his passing. While information on Shah Kulu in various sources identifies him as a musavvir (painter), his specific style of colored paintings is not known. The drawings he made in the saz style using the kalem-i siyahi technique, however, are well known. These works are marked by legendary animals such as dragons and phoenixes, lanceolate leaves on curved or sharp-angled branches, peony blossoms and flower bouquets, as well as forest fairies (peri) whose clothes are decorated with the skill and precision of a
I Türkoloji Qurultayın 90 illiyinə həsr olunmuş beynəlxalq konfrans:
TÜRKOLOJİ ELMİ-MƏDƏNİ HƏRƏKATDA ORTAQ DƏYƏRLƏR VƏ YENİ ÇAĞIRIŞLAR (I hissə)
471 jeweler. Their perfection attests to Shah Kulu's praised mastery. According to another document, Shah Kulu presented a portrait of a fairy as a bayram gift to Sultan Suleyman. This is perhaps the fairy currently housed in the Freer Gallery in Washington D.C. Based on a strong imagination, these drawings collectively known as saz yolu, constitute one of the fundamental styles of the Ottoman decorative arts for centuries. There is ample evidence of their appreciation of the Tabriz art of the book: for instance, as mentioned earlier, Shah Tahmasib's accession present of his Shah-namah to Sultan Salim II in 1568 was much appreciated, and illustrated manuscripts were included in the royal presents sent to the Ottoman court by Shah Abbas I in 1619. The drawing belongs to a large group of dragons collect in the Istanbul albums, singular examples of which are pn ently in American and European museums. Two of these i fer clues in identifying the name of an artist. The first is a badly damaged drawing that bears the seal of Shah - kulu and the notation: "This dragon is the work of master Shah - kulu". The sketch, in the Bahram Mirza Album, made at Tabriz in 1544-45, has a preface written in 1544/1545 by Dost Muhammed, who might have been responsible for the notation. It appears to be the earliest datable drawing of Shah - kulu. Even though too faint to determine the artist's style, it nevertheless establishes a date for his dragon drawings. The name of Shah - kulu appears on one other drawing, that of a flying peri holding a long- necked bottle and a stemmed cup, also removed from an imperial album. This example, now in the Freer Gallery of Art, is superbly detailed, its execution bcfiting the reputation of the master.'" Shah - kulu, recorded in the payroll register of 1526 as "Shah-kulu". The document states that he was exiled from Tabriz, most likely around 1501 when Ismail took over in Iran. Shah - kulu, whose name means the "servant (or slave) of the Shah," was probably in the service of the Akkoyunlu sultan and left Tabriz when the Safavids defeated his patron. He first lived in Amasya and then moved to Istanbul, joining the nakkash - khane between December 1520 and January 1521. He drew the highest salary in the society in 1526, was made serbollik in 1545, and is mentioned in a document dated 1555/1556 as having died before he could be given the bayram gifts from the sultan. Another document datable to 1545 states that he gave a representation of a peri on paper to the sultan. Mustafa Ali, in his biography of the artists completed in 1586, wrote that Shah - kulu was trained in Tabriz by a master named Aga Mirak, an artist who later joined the Safavid court. According to Mustafa Ali, when Shah - kulu came to the court soon after Suleyman's accession, he was given an independent studio; the sultan used to watch him work there and frequently rewarded him with gifts. Mustafa Ali also insinuated that the artist was ill-mannered, had a nasty tempera- ment, and frequently feuded with his colleagues. Shah - kulu, identified with drawings of dragons and peris, must have been the master who executed the Cleveland example, which shows the same refined technique as his work in the Freer Gallery in Washington. The Istanbul album is filled with single paintings and drawings, many of which represent angels who either fly or sit in an undefined space, alth ough at times they are shown in a landscape or have carpets spread under them. The peris have pairs of swooping wings and frequently wear crowns or hats made of long feathery leaves, short-sleeved tunics over long sleeves and skirts, jeweled belts, and flowing ribbons tied to their torsos. They hold in their hands musical instruments, long-necked wine bottles and cups, bunches of flowers, or peacocks, offering the delights of paradise. A typical example, pasted below an illuminated panel with a verse of poetry, depicts the fantastic creature flying over a landscape while playing a lute. The landscape is rendered in full color and represents trees interspersed with clusters of flowers and bushes. The figure, executed in bold outlines, is delicately detailed with washes, touches of gold, and pink tints applied to select areas. She wears the outfit characteristic of the peris: the feathery hat surmounted by leaves and infinitesimally decorated double-tiered tunic over a long skirt. Spiral scrolls bearing blossoms embellish the neck of her undergarment, the cuffs of her tunic, and the long knotted ribbon tied to
I Türkoloji Qurultayın 90 illiyinə həsr olunmuş beynəlxalq konfrans:
TÜRKOLOJİ ELMİ-MƏDƏNİ HƏRƏKATDA ORTAQ DƏYƏRLƏR VƏ YENİ ÇAĞIRIŞLAR (I hissə)
472 her chest; a larger version of the same scroll appears on the long sleeves and lower tier of her tunic; the cloud collar enclosing the shoulders of her tunic has a similar scroll with birds, and her skirt shows cranes flying amid cloud bands. Several single folio paintings and kalem-i siyahi drawings found in the Ottoman albums are signed by Velijan Tabrizi. Velijan was a student of the Safavid Tabrizi court painter Siyavush. He traveled from Tabriz to Istanbul in the early 1580s and was later enrolled in the painters division of the organization of the court artists. Documents indicate that he worked on the illustration of manuscripts at the royal studio between 1582 and 1588. In fact, Velijan is also mentioned among the artists who illustrated the second volume of the Hunername and skilled in the kalem-i siyahi technique occasionally colored with diluted pink and gold, depicting standing or lying double or single male figures, saz compositions, peony blossoms, fairies, and animals. The extraordinary technical skill in this composition is reminiscent of the style of Velijan, a Tabrizi artist of the Safavid court. His drawing follows Safavid prototypes but betrays Ottoman influence in the sharply pointed leaves that presage the saz style, an Ottoman adaptation of Chinese- inspired foliage. Sealed peri from an album, second half sixteenth century is attributed to Velijan (Istanbul, Topkapi Sarayi Miizesi. H. 2162, fol. 48b) The same album contains a slightly later drawing of another peri bearing the inscription "kalem-i [pen of] Velijan." The posture of the figure, who sits in three-quarter ings are inscribed simply "Velijan," written in a different hand at a later lime."" One example, however, a study of ha- layi blossoms and buds with the name hidden among the foliage, seems to bear an authentic signature. Even though it is difficult to determine how many of the drawings attributed to Velijan were actually by his hand, the artist appears to have been renowned for his drawings and recognized as a master of the saz style. Velijan, recorded in the payroll registers of 1596 and mentioned in the documents relating to the 1584/1585 volume of the Hunername as being one of its illustrators, was a student of Siyavush the Kurchi, a painter in the Safavid court. Velijan, who must have come to Istanbul in the 1570s, was the last practitioner of the saz style, which lost favor in the Ottoman court after 1600. Occupation of the Safavid capital Tabriz by Sultan Salim in 1514, and subsequent incursions (in 1534, 1538 and 1547), resulted in the removal to Turkey of many royal treasures; these included fine albums and illustrated manuscripts, most of which are preserved in the Topkapi Palace to this day. Many artists were also taken by the Ottomans from Tabriz to Turkey, where they established the sixteenth-century Ottoman school of painting. Fortunately, we have well documented contemporary accounts of both the arts and the artists in Turkey. Among the painters we can mention Shah Mansur and Velijan, a pupil of Siyavoush Beg, who worked in the studio of Sultan Murad III (d.1595) and seems to have tried to emulate Mawlana Wali Allah or - Velijan as is evident from album H. 2162 in the Topkapi, in which both artists' work can be found. LITTERATURE 1.
Atıl, E. Süleymanname. the Illustrated History Of Süleyman The Magnificent, New York , Harry N. Abrams, Inc., Publishers, 1986. 2. Atıl, E. The Age of Suleyman the Magnificent. Washington,1984 3. Froom, A., 2001, “Collecting Tastes: A Muraqqa` for Sultan Murād III” in EJOS, pp. 1-14. 4.
M.S. Ipsiroglu and S. Eyiiboglu, Turkey, Ancient Miniatures, UNESCO, New York 1961 (with anintroduction by Richard Ettinghausen). Yüklə 2,97 Mb. Dostları ilə paylaş:
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