Dissertation for Master's degree
Painting field
February 2013
Summary
Shahnameh Madhi is a Shahnameh written by Ottoman artists in the first half of the 17th century. The introduction of this book and the examination of its illustrations are important from three aspects: first, the need to study Ottoman painting, secondly, it is a translation of Ferdowsi's Shahnameh and thirdly, the use of Arabic calligraphy.
To study this book, the website of Uppsala University Library in Sweden was used, and by collecting information about the relations between Iran and the Ottomans in terms of literature and art, and checking the information From the books of Islamic art about Ottoman painting, a general overview was obtained and by translating books about the art of Ottoman painting, additional information was collected from its various periods, especially the period of Osman II, which was prepared by his command.
The results of this research show This is because Ottoman painting, despite being influenced by Iranian painting and European painting, went its own way and shaped them in its own way, and finally presented a creative and personal fusion of these two different ways of painting. Ottoman paintings have a war atmosphere both in the choice of subject and the design method. Also, recording the history and geography is one of the distinctive features of this painting. Shahnameh Madhi, Shahnameh 29 miniatures, Shahnameh Ferdowsi, Ottoman art, Ottoman school of painting
1- Chapter 1
Introduction and Generalities
Introduction
Last year while studying the book "Painting of Tabriz and Qazvin School of Mashhad" Written by Dr. Yaqub Ajand, I came across descriptions of a book called Jalal wa Jamal, a manuscript that is located in the library of Uppsala University, in Sweden. By referring to the website of the university library, I realized that this library keeps many manuscripts, many of which are masterpieces of Persian literature. One of these books was Shahnameh 29 miniatures or Shahnameh Modhi [1] which attracted my attention. After correspondence with Uppsala University, I got general information about this Shahnameh. But when visiting this library, unfortunately, the permission to visit this copy was issued a little late and I did not manage to see the book closely. However, I did my best to help with the little information I had on the matter. I will analyze it, which may open the way for more research.
For this purpose, to analyze the "Shahnameh Madhi" paintings, it was first necessary to briefly address the spread of the Persian language and the interest in Persian literature in the Ottoman Empire. As we will see in the next chapter, the Persian language has been used as the official language of the Ottomans for a long time. And even after the Turkish language gained power, the great works of Persian literature were translated into Turkish. Even though Madhi's Shahnameh is a translation of the Shahnameh, Persian verses can still be seen among the paintings, which are separated by the titles of poetry and prose. The formation of Ottoman painting has been investigated. Then, the relationship between these two countries has been discussed, and various factors in the transfer of Iranian painting art to the Ottomans have been investigated. Among these factors, we can mention the migration of artists, spoils of war and the gifts of kings. Finally, how the Ottoman school of painting was formed until the time of Sultan Osman II was discussed and the different eras of this school were briefly explained. He is a painter in the Ottoman court. The Shahnameh and the production of the Shahnameh have been paid attention to.
Review of the classical period of the Ottoman school.
Review of seventeenth century painting.
The last chapter introduces the individual paintings in the order of the pages of the edition. It is.
The writings of these pictures have been helpful in finding the story related to the picture, as well as using the cataloging titles of Uppsala University. Ferdowsi's Shahnameh (based on the Moscow edition, by the efforts of Dr. Saeed Hamidian) is included below them according to the story related to the painting. Then a descriptive analysis using the characteristics of this painting is done, and finally the linear analysis and color analysis of each painting is placed. Iranians. This book was not only respected by the Iranian kings, but also attracted the heads of the neighboring nations, and they also translated and prepared copies of the Shahnameh for their courts for various reasons, the most important of which was the competition with the leading culture of the Iranians. And it is a very exquisite and royal book that was translated into Turkish prose in the years 1027 and 1028 AH by the order of Sultan Osman Khan II, by a person named "Madhi", who was a story-reader of Ottoman sultans. This book was written in the middle of Rabi al-Akhr 1029 AH (March 1620 CE) in the beautiful "Juri" calligraphy. It has been written and has 29 full-page (or more) illustrations.
The purpose of examining these illustrations in general terms was to first introduce the effects of the rich literature of this land to its neighbors, and then to recognize the effects that these neighbors themselves had on the form of the book and especially its painting.
As it was said, this The book has 29 illustrations. Accepting the fact that painting is also valuable in historical studies, like a written document, and the artist was always influenced by what he saw around him (such as architecture and decoration of buildings, clothes, hair and face makeup, etc.)
1-1-2-
Question 1:
In what issues and matters can the reason for the desire of the Ottomans to write Shahnamehs be sought?
Hypothesis 1:
The relations between Iran and the Ottomans have always been hostile, but they did everything to show their power and raise their dignity. The translation and painting of the Shahnameh by the Ottomans is one of the cases that shows this issue. Question 2: To what extent have the characteristics of Iranian painting schools been used in these paintings? We do not see this influence in the coloring of the works. We see Iranian works with bright and vivid colors, while these works are very pale and dull. The artist has depicted everything he observed in the details of the picture, in the architecture and in the clothes in the style of the Iranians, that is, we are facing a manifestation of the Ottoman culture.
1-1-3- and the necessity of conducting the research
The purpose of conducting this research is primarily to introduce this old book, which is a translation of Iranian literature, and to examine how the culture, literature, and art of the Iranians influenced other countries. Because Iran has always interacted with different countries for various reasons, and certainly knowing some parts of Iranian art requires knowing these interactions and influences. The only article written by Dr. Ali Muhaddes in the cataloging of the Uppsala library, in about three pages, deals with this book and provides basic information in this regard.
According to the correspondence with the Uppsala University, it was found that the university library is preparing a complete book about this Shahnameh, but there is no information about how many and why.