Manuscripts of Ottoman-Safavid Relations

Remarks on Some Manuscripts from the Topkapi Palace Treasury in the Context of
Ottoman-Safavid Relations
Author(s): Filiz aman and Zeren Tanindi
Source: Muqarnas, Vol. 13 (1996), pp. 132-148
Published by: Brill
Stable URL: http://www.jstor.org/stable/1523256
Accessed: 09-08-2016 10:12 UTC
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FILIZ CAGMAN AND ZEREN TANINDI
REMARKS ON SOME MANUSCRIPTS FROM THE

TOPKAPI PALACE TREASURY IN THE CONTEXT OF
OTTOMAN-SAFAVID RELATIONS
The large number of Safavid manuscripts illustrated

with and produced in the Khurasan region
teenth century
miniatures dating from the sixteenth century
andin
Shiraz,
the Topwhich found their way into the collection.
kapi Palace Museum Library, whose collection
Thewas
fineaccuillustrated manuscripts of the Istanbul Univermulated by the Ottoman sultans over the centuries,
sity Librarycan
and some pious-foundation libraries in Istanbul also originally
belonged to the palace collections and
be attributed in part to political relations between
the
from the
same sources.
Safavids and Ottomans, and particularly to derive
the wars
between the two states which began in 1578 and
When
continued
we examine the late-sixteenth-century Safavid
sporadically until the early seventeenth century.
While in
manuscripts
illustrated with miniatures in the Topkapi
the course of these wars villages and towns in
andMuseum
around Library, the seal impressions and rePalace
Azerbaijan were razed and looted and hundreds
cordsof
ofpeoownership generally found on their lining paple died, the elite of both states continued their
pers enable
cultural
us to trace the histories of these books and
exchange. During this period generals, ambassadors,

the ways in which they entered the palace collection
statesmen, writers, and poets on both sidesthey

maintained
also show how highly regarded they were as gifts. A
a time when
hostilities between the Ottomans and Safaclose relations which led to substantial numbers
of precious manuscripts finding their way from
Iran
toatthe
vids
were
their height, Sultan Murad III (r. 1574-95)
Ottoman capital. Some of these valuable works
gifts
waswere
in poor
health and did not go on any of the cam
presented to the Ottoman sultans by Safavid
ambassapaigns.
In fact, he rarely even left the confines of the pa
dors sent on various missions,l but a considerable
ace; his numrole as commander-in-chief was assumed by
ber were either purchased or received as gifts

during
the
series
of Ottoman
commanders. Rivalry for this post ran
wars by Ottoman generals, bureaucrats, andhigh
provincial
among top statesmen, and they vied to present th
governors.
sultan, an enthusiastic bibliophile, with precious manuOttoman dignitaries collected these manuscriptsscripts in their endeavor to gain an edge over their com
partly because of their interest in books and love of prepetitors. At the same time illustrated histories of th
cious works of art, partly because these manuscripts were
Ottoman-Safavid wars were being produced by palac
status symbols, and partly because they were useful to
craftsmen, adding still further to the sultan's collection
present as gifts to the Ottoman sultans as gestures of loyAnnalists appointed to accompany the grand viziers on
alty. It was customary to present books and other gifts
campaign against the Safavids between 1578 and 159
wrote accounts of those battles in verse, which were late
when the Ottoman army returned from campaign, at circumcision and wedding ceremonies for members of the
produced and illustrated for the treasury.
imperial family, at religious festivals, or to win the ruler's
In this paper a small group of illustrated manuscript
favor when functionaries felt their offices threatened or
which entered the Ottoman treasury through variou

as a direct or indirect result of Ottoman-Safavid
sought a new appointment. The system wherebychannels
the
property and fortunes of statesmen and members ofrelations

the
during this period of conflict and its aftermath
imperial family devolved to the treasury after their will
death
be presented under three categories. The first catemeant that many of these precious manuscripts eventugory consists of manuscripts produced or refurbished
ally ended up in the treasury at the Topkapi Palace.2
for the Safavid elite. The second comprises two manuToday the Topkapi Palace Museum Library still scripts
con- by a celebrated calligrapher who was a member of
tains many of these outstanding illustrated manuscripts,
a group of artists who migrated to the holy centers on
most of them dating from the second half of the sixOttoman soil. The third is represented by the illustrated
133
MANUSCRIPTS FROM THE TOPKAPI PALACE TREASURY
f<;-. :"': ' . . '. . .. I.-"..

t,t
Fig.
1.
rL
Prophet
Khurasan,
.'~'
'V
Muhammad
1568.
Ottoman histories which relate to the Ottoman-Safavid

wars between 1578 and 1590.
Topkapi
and
the
Palace
priest
Librar
His son Muhammad-Salih Bitikchi was living in Astarabad in 1538 and was governor of that city for a time. How-
The first category, manuscripts produced for Safavid

ever, he was seemingly an unreliable and rebellious charstatesmen or officials and then acquired for the Ottoacter and finally annoyed the shah so much that he had
man palace during the Ottoman-Safavid wars, includes
a brought to Tabriz and executed.6
him
biography of the Prophet Muhammad entitled Asar-i

The palace copy of Asar-i Muzaffar was completed in
Muzaffarwritten in the masnav form (H. 1233).3 In his
Dhu'l-QaCda 975 (28 April-27 May 1568) by Muhyi alintroduction (fol. 5b), the author praises Sultan Husayn
Katib al-Haravi (figs. 1-2).7 The seven miniatures are
Mirza (d. 1506), explains his reasons for writingrendered
the
in typical Khurasan style and are the work of
two different artists. Five (on fols. 13b, 33a, 60a, 71a, 96b)
book, and goes on to praise Khwaja Sayfuddin Muzaffar
Bitikchi and his son (fol. 7b). Most probably he was
a
are similar
to paintings attributed to Muhammadi, the
well-known artist of the Khurasan school.8 Another folio
poet during the reign of the Timurid Sultan Husayn
Mirza (1470-1506), under whose patronage he worked
with an illustration in a style similar to that of Muhammadi was removed from between leaves 82 and 83 and is
before entering the service of the Safavids. He dedicates
now in Geneva.9 The other two miniatures in the manuthe work to Khwaja Sayfuddin Muzaffar, a Safavid bureaucrat after whom the book is named.4 Khwaja Sayfudscript appear to be the work of another artist of the
din Muzaffar Bitikchi served under Shah Ismacil in Khu-
Khurasan school (fols. 114b, 158b) (fig. 3). An album
rasan in 1510 and became governor of Khurasan in 1521.5 containing examples of works by these two artists and
FILIZ CAGCMAN AND ZEREN TANINDI
134
?r??
.?'
?
; *'' " ii ;;??.
i ??(?ii:?firle;;:1
I%
under the patronage of a Safavid noble or dignitary (/;.*S=cfC?rClli*;CI)
,
r
:"
r?:
rl
t
.VV
'i
Ii
? :r
Jifc
.
..
are to be found in the seals and a note inscribed on the
first page (fol. la) of the Asar-i Muzaffar, which also be

the seal of Sultan Selim I (r. 1512-20), of Sultan Ahme
III (r. 1703-30) dated 1115 (1703), and yet another fain
and illegible seal. The seal of Selim I, known as the tr
sury seal, was used to seal the door of the sultan's tre
sury and chests and bags containing precious objects a
was in use until the palace became a museum.'3 It w
also stamped in all the books which entered the treasu

until the eighteenth century, so its presence in Asa
Muzaffar does not help in dating its acquisition by th
Ottoman palace. The seal bearing the tugra and date
accession of Ahmed III was stamped in all the books k
in the treasury during the inventory made by his orde
so we know that it was already in the treasury when
came to the throne. In addition to the seals, there is a
note which records that the book came from "the estate
of the late musahib Mustafa Pasha" in Dhu'l-Hijja 109
(19 October-16 November 1686). Mustafa Pasha was second vizier to Sultan Mehmed IV (1648-87), and married
the sultan's daughter at a splendid wedding in Edirne i

1675. Among the gorgeous gifts which the groom presented to the bride were murassa (jeweled) Qur'ans.14 It
is highly likely that this exquisite Khurasan manuscript
thought to have been a gift from the Safavid sultan to h
fellow Ottoman ruler during the Safavid-Ottoman war
of 1578-90, was subsequently presented as a wedding gif
to the book-loving son-in-law of Mehmed IV, and after
in 1686 it was confiscated for ba
the palace trea
Fig.
3. his death
Ali's
Topkapi
Palace
sury with the rest
of his estate. Two other manuscripts
the Topkapi Palace Museum Library, a copy of the Shah
nama of Firdawsi (H.
1484)'l and the Khamsa of Nizami
Muhyi
Katib
(H.
786)"l and the Mihr u Mushtari of CAssar (H.
831)17
This
copy
o
with miniatures, also came from the estate of

a illustrated
prince
Mustafa Pasha. They bear the treasury stamp of Selim I
and copy
the seal dated 1115 (1703) of Ahmed III.
is based on the fact that three months before this
Another
was made, in the middle (fi avasit) of the month
of interesting manuscript in the Topkapi Palace
Museum
Shacban 975 (ca. 10-19 February 1568), the Divan
ofLibrary is a copy of the Divan of Hafiz produced
for the Safavid bureaucrat Sultan Sulayman in the KhuHafiz (Khalili Collection, London) was copied by
Muhammad Husayn al-Husayni in Reze (Raz), in therasanian city of Tun (H. 986).18 Sultan Sulayman may be
for
Khurasan such as Sabzavar or Bakharz. This conclusion
province of Bakharz." The close correspondence be-identified as Sulayman Khalif Turkman, appointed as
tween these two works in size and the design of the illu-governor of Tun in 1581.'9 He was the son of the Qizilbash amir Suhrab Khalif Turkman and the son-in-law of
mination and miniatures strongly suggests that they were
produced at the same workshop.'2 The Asar-i Muzaffar Murtaza Quli Khan, governor of Mashhad.20 He serve
has a magnificent lacquered binding with floriatedas governor of Tun and Tabas in southern Khurasan dur
designs on the outer covers and a combination of flor- ing the reign of Shah Muhammad Khudabanda, and was
iated designs with mythological beasts on the inside cov- appointed governor of Qum on the day Shah CAbba
acceded to the throne in 1587.2' According to the co
er. The binding of the Divan of Hafiz is lost.
Clues to the rest of the story of this book - producedophon (fols. 209b-210a), it was copied by Husayn ibn
135
Lisk ;`;-'Fa.y g-BILLJ% a II~ l ~YI: ~ ~ iC P .CI IFL J A BBY -rl l Ip -~,pr L~Cqn~~aE~ l ~~ a IEr
?.
Fig.
4.
?-
Detail
of
fol. 6a.
Qasim al-Tuni for Sultan Sulayman on 20 Ramadan 989 CAbdullah Shirazi (fol. 6a) (fig. 4). According to the pri(18 October 1581). In addition, at the end of the prefacemary sources, CAbdullah was a well-known mudhahhib (il(fol. 4a) a note records that it was copied by Sultanluminator) from Shiraz, a skilled rawghani (lacquerer),
and a close friend of Ibrahim Mirza, for whom he
Husayn al-Tuni in the middle (avasit) of the month of
Rabic I 994 (ca. 2-11 March 1586) in Tun.22 The miniaworked for twenty years. After Ibrahim Mirza's death in
tures and illumination of the manuscript were executed1577, CAbdullah Shirazi worked briefly for Ismacil II, but
Ismacil died in the same year (24 November 1577). Subinner covers of the binding, which has an envelope
sequentlyflap,
he served as farrash at the shrine of Imam Riza
are lacquered. On the front cover a noblewoman
in Mashhad.
andFrom his surviving works we know that he
her retinue are depicted in the countryside; was
on the
backan illuminator, but also a celebrated painter
not only
cover are a nobleman and his retinue. On the back envewho worked in the kitabkhana (atelier) sponsored by the
lope flap some men stroll in a country setting
notable
while
Safavid patron of the arts, Ibrahim Mirza.23 He
between October 1581 and March 1586. The outer and
worked in Khurasan for most of his life. As indicated in

others read books; the surfaces of the same fore-edge
flap and inside covers have depictions of a scene his
of life
inof the Divan of Hafiz in the Topkapi Palace
copy
a forest.
Museum Library, CAbdullah Shirazi worked for other
The illuminated double page (fols. 5b-6a) featuresofficials in Khurasan during the 1580's following the
human faces amid abstract decoration and is signed by death of Ibrahim Mirza.
136
signature, CAbdullah mudhahhib, appear on a rock.2" Th
fact that CAbdullah Shirazi executed both the illumina-
tion and miniatures for another copy of Sifat al-'ashiqin
by Hilali in the Topkapi Palace Museum Library is recorded in a star-shaped medallion on the colophon
page, with the date 987 (1579-80) (R. 918, fol. 57a) (figs.
8-9) .27
The remaining three miniatures in the Divan of Hafiz

are evidently the work of two different artists (fols. 54b,
170b, 85b) (fig. 10). It is hard to say whether the lacquered binding is the work of CAbdullah Shirazi, who was
also a lacquerer: the figurative painting on the binding
does not display any correspondence with his own

style - he may have been responsible for the lacquering, but not for the design. Apart from the seal of Ahmed
III, the manuscript has no other stamps or inscriptions,

no doubt because the flyleaves were replaced at some later time in the course of repairing the spine. Although
information that could have pointed to how and when

the volume was acquired by the palace has thus disappeared, we may assume that it was presented as a gift to
the palace towards the end of the sixteenth century,

either by a diplomatic delegation or by an Ottoman general serving in the eastern campaigns. With its exquisite
binding, illumination, and miniatures, this copy of the
Divan of Hafiz shows that following the death of Ibrahim
Mirza the master craftsmen from his library went to work
under the patronage of Turkoman bureaucrats serving

in Khurasan.
The love of books and contribution to this field of art

Fig. 5. A young aristocrat and his friends signed by Bihzad. Divan of
Hafiz. Tun, 1581-86. Topkapi Palace Library,

986, officials
fol. Illb.
byH.
Safavid
is confirmed by two illustrated copies
of the Jdmic al-tawarikh, the world history written by the

Ilkhanid
vizier
Rashidthe
al-Din (d. 1318), and well known
The eight miniatures in this manuscript
are
clearly
to historians and
art historians
work of different artists. Two bear signatures:
one
minia- alike. A reexamination of
ture (fol. illb) illustrating a poetryentries

gathering
hasthe
anowners of these two books an
concerning
theirby
illumination
offers
some new conclusions. The first
inscription reading amal-i Bihzad (done
Bihzad)
(fig.
5); the other, illustrating dervishes inmanuscript
a paradise-like
gar(H. 1653)28
contains three colophons. The
den, is signed Bihzad Ibrahimi (fol. 21b).
inthe original copying during the
first A
(fol.miniature
375a) refers to
the same style was removed from thistime
manuscript
and
of Rashid al-Din
in is
the last ten days (avakhir) of the
now in the Keir Collection in London.24
month of Jumada II 714 (ca. 1-10 October 1314)
Although nothing is known about this artist, the coginscribed by Hafiz. The second (fol. 148a) gives the date
nomen Ibrahimi indicates that he was in the service of
6 Muharram 829 (18 November 1425), and the third (fol.
Ibrahim Mirza. His style is very similar, particularly
421b)in
Sha'ban 829 (8 June-6 July 1426). The last two
certain details, to that displayed in miniatures attributed
also state that those sections of the manuscript were
to Shaykh Muhammad who worked for Ibrahim Mirza.2;
copied by CAbdullah ibn Lutfullah, alias Hafiz-i Abru.
The other two paintings (fols. 129a, 156a) bear noThe
signaminiatures in this book show variations of style
ture, but so closely resemble those of CAbdullah which
Shirazi
indicate that they could well have been executed
that they must be his work (figs. 6-7). One of these
is athe interval between the first and last two colduring
double-page garden scene miniature in a copy of ophons.
Sifat alMoreover, on the first page (fol. la) of this copy
Cashiqin by Hilali in which the date, 989 (1581), and
the there is an illuminated medallion in early-fif(H. 1653)
137
'-bi
I'.:J i?"?:
luu
...
*' ao
'''%uf I ''.
21k1
: , ...... . ... .....
Fig. 7. A young aristocrat and his f
Fig. 6. Polo players. Attributable to CAbdullah

Shirazi. Divan
of
CAbdullah
Shirazi.
Divan of Hafi
H. 986, fol. 156a.
Hafiz. Tun, 1581-86. Topkapi Palace Library, Library,
H. 986, fol. 129a.
"* /:;
1?;:c' v.
*r
/ ^^
l y
A^ *
*<!"
-$if
;,~~~~~~~~~~~~~~~7
?.
....
..
L."~:':"'..,:;."i
rik ...~~~o.
':
:.i *~~~~~c
..',!1
:'
....
~1':
I . l i ; W A i U 5 U
i
I~~~~~~~~~~~~--
Fig. 9. A young man and his compan

Cashiqin.
1579-81.Khur
Topka
Fig. 8. Colophon page.
SifatKhurasan,
al-'ashiqin.
20b.
Palace Library, R. 918,
fol. 57a.
138
FILIZ (AGMAN AND ZEREN TANINDI
Fig. 11. Illuminated dedication page. Jamic al-tawarnkh. 1590's.
Fig. 10. A young man and his companions in a kiosk. Divan of Hafiz. kapi Palace Library, H. 1654, fol. la.
Tun, 1581-86. Topkapi Palace Library, H. 986, fol. 170b.
teenth-century Timurid style containing a gilded

inscripthe
city of Khoy on 27 Safar 742 (12 August 1341). Amir
tion in thuluth reporting that the manuscript was
pro-who married the Ilkhanid ruler Oljeitii's (d.
Choban,
duced for the treasury of Shahrukh ibn Timur
1316) daughter Sati Beg, and was implicated in the mur(1377-1447). The same page bears the seals of Shahrukh der of the vizier Rashid al-Din, was an influential statesand Ahmed III.29 There are also some notes which reman in the early part of Abu SaCid's reign. When he fell
cord the owners of the book over the century duringout of favor in 1326 and went to Herat it is possible that
which it made its way from the Ilkhanids into the trea-he took this copy of the Jamic al-tawanrkh, which he
owned, with him. Since the writer of the note concernsury of Shahrukh.
One of these owners was Choban (d. 1327), a cele- ing a birth in a country house in Khoy in August 1341 was
brated statesman under the Ilkhanid ruler Abu Sacid (d. from Khwarazm, it is possible that this second note was
1335).30 The note states that Choban conquered landswritten in Herat. If, on the other hand, Choban did not
for the state of Ghazan, but that then his fortunes
take the book with him, it probably passed into the
turned, and he was obliged to flee his country in 727

hands of a member of his family and remained in north(1326-27), when he went to Herat. This note is writtenwest
in Persia. In that case the note of a birth in Khoy may
the space at the bottom of fol. 410a in a regular hand,
concern one of his relatives. A further possibility is that
and repeated in the upper right corner of fol. 410b inthe
a book was taken from Khoy to Herat during the Timurid invasion.
poor hand. A second note on fol. 410b is repeated twice.
Written by Khwaja Abu'l- Khayr al-Khwarazmi, this noteThe illumination of the first page (fol. lb), like the
concerns the birth of someone (the name is illegible) in
medallion on the dedication page, is in the Herat style of
139
.. p 8 ' . .- ^ ...... ,; i:-
"i3i
'
I-.
*s
'
?
,
1,
K"
\r' . :.. .. . .S
..:' '>st *X.!^+......... ............. . ,**; . ,. , ...... ..i.. ...
. . i ' ..................... . - i l *4 J
1;j- t x . *~, , "-~

..... X _yg W-' ;v .........
.L.:~
t\494c? .4: ,, . i ,, . ...
LSj^L>Y^S^^
/i^ ^>^u-b^ ^^^-^^rLj;S ^-u-
^;:^^ > ^-^ ^' *'

-^-; * ' - _ i
C3\>A^(pt^
r; ~^"AJ^
?' .?^ ..;.4'6!
;;'- t,'..;,
,'AA,,\^c^^?
; . ",M~^ .^^' t - . _,^ S..aS
i^U^^S ,?i?
;^^^ ^^t^(eL--^ ^J^^^C^; - '^^'
^.i^j^^st?^!"^^!!^ -c' 3I~'~- **:** J^***^^:^**?^"""
The second copy of the Jamic al-tawarkh (H. 1654) in
Fig. 13.
Fig. 12. Illuminated heading. Jamic al-tawarnkh. 1590's. Topkapi
Pal- Illuminated heading. Jdmi' al-t
717
ace
ace
(14Library,
July
Library,
1317) on H.
fol. 1654,
350a.
H.
Almost
1654,
fol.
all 295b.
of itsfol.
minia- 295b
ace Library, H. 1654, fol. 168b.
The
second copy of the Jami' althe reign of Shahrukh. The illuminated chapter
headings, on the other hand, are in the style used widely
the Topkapi
in
Palace Museum Librar
717
Safavid-period books (fols. 6b, 375b, 391b, 422b).3'
The(14 July 1317) on fol. 350a. Al
tures
first pages of some sections have the designs for
illumi-were executed during the re
thenot
firstyet
page is a star-shaped medallion illuminated in
nation in the same style sketched out in black but
Safavid
style containing an inscription reporting that this
painted in (fols. 326b, 329b, 411b); one of the
chapter
book
was made by order of the kitabkhana of Farhad
headings is completely blank (fol. 342b). The text
is writKhan
Qaramanlu (fig. 11).33 The headpieces of each secten on cream-colored polished paper, with strips of thick
tion
are
again illuminated in the Safavid style of the last
pink paper pasted along the margins. There is evidence
quarter
of
that the illumination and margin borders date from thethe sixteenth century (fols. 2b, 168b, 237b,
251b, 272b,
late sixteenth century. The binding has an inscription
of 295b, 328b) (figs. 12-13) .34 This text is also
written
on cream-colored polished paper with borders of
the Zu 'l-vahayn Kiitiibhane-i Humayun established
by Sulthick pink paper. The original binding has been
tan Abdulhamid II (1876-1909) at the Yildiz Palace, in
Istanbul.
replaced by the distinctive type used by the library at th
140
Yildiz Palace during the reign of Sultan Abdulhamid

As the seals II.
in H. 1654 indicate, this copy of the Jamic
A circular stamp on some of the pages of this
manuscript
al-tawar7kh
was presented to the astana of Shah Safi in
(H. 1654) has been gilded over, but remains
Ardabil
legible:
in 1608
it is
at the earliest. This book was probably
the waqf seal dated 1017 (1608) from the shrine
brought(astana)
to Istanbul during the reign of Osman II (1618of Shaykh Safi in Ardabil.35
22).46 The second copy of this work (H. 1653) in the Top-
Farhad Khan Qaramanlu, whose name appears

kapi Palace
inMuseum
the
Library does not contain the waqf
illuminated medallion on the first leaf of H. 1654,
seal of the astana of Shaykh Safi, so it may be one of the
belonged to the Shirvan Qaramanlu family which gifts

had that Zu'l-faqar Khan brought to Istanbul for the
served the Safavid rulers since Shah Ismacil (d. 1524)Ottoman
was
sultan. When these copies of the Jdmic al-tawarkzh
a child.36 Farhad Khan (d. 1599) and Zu'l-faqar Khan (d. were rebound at the Yildiz Palace in the distinctive
1610) of this family were both high-ranking officialsstyle
un- of Abdiilhamid II's library, any seals and notes on
der Shah 'Abbas I (d. 1629). From 1588 onwards Farhad
the flyleaves would have been lost. They were returned
to the Topkapi Palace Treasury with the rest of the conKhan was charged with quelling the unrest which broke
tents of the Ylldlz Palace Library in 1922.
out sporadically in Yazd, Shiraz, Gilan, Mazandaran, and
These
Khurasan.37 He served as governor of the Fars region
books demonstrate the interest Safavid rulers
and Shiraz between 1594 and 1596, and of Astarabad and

and statesmen had in the arts of the book, and also sho
Gilan in 1598-99.38 During the same years he was sentthat

on the practice of presenting precious manuscripts
various missions to Mashhad and Herat. Shah CAbbas
the Ottoman palace gained momentum in the seco
appointed him governor of Herat, but then changedhalf

his of the sixteenth century, when artists traveled to
Ottoman Empire in search of new patrons or made th
mind and appointed Husayn Khan Shamlu in his place.39
Farhad Khan was murdered in 1599.40
way to Mecca, the tomb of the Prophet in Medina, th
Farhad Khan's younger brother Zu'l-faqar Khantomb
was of Husayn in Karbala, or the tomb of CAli in Na
all on Ottoman territory. In their old age, or when th
sent as a Safavid envoy to Istanbul in 1596-97, but when
he arrived he found that the Ottoman Sultan Mehmed
found themselves without patrons, many artists took t
III (r. 1595-1603) was on campaign in Erlau. He opportunity
awaited
to travel first to Baghdad, where they visi
his return and watched the ceremonial entrance of the
the holy sites in the area, and then continued on to t
Hijaz. to
sultan's army into the city.41 When Zu'l-faqar returned
Persia he was appointed governor of Azerbaijan.

A He
second category of manuscripts is represented
the work of a calligrapher from Khurasan, Hasan C
killed in Shirvan.42 On the dedication pages of his
treaMashhadi,
who went on a pilgrimage during the la
tise on calligraphers and painters, Qadi Ahmad
speaks
years
of his life on Ottoman soil. Following the death
with praise of Shah CAbbas and Farhad Khanhis
Qaramaster, Mir Sayyid Ahmad in 1578-79, Hasan C
manlu.43 Among the contemporaries of Qadi Katib
Ahmad
went to Herat where he stayed for a while.47 At t
were the scribes Mir Imad, Maulana Sultan Husayn
Tuni
time
CAli-Quli Khan Shamlu (d. 1589) was governor
served in Shirvan and Ardabil until 1610 when he was
(who inscribed the copy of the Divan of Hafiz mentioned

Herat and tutor to CAbbas Mirza.48 The Khurasan pain
earlier) and Maulana Nizam a-Din CAli-Riza Tabrizi

all
Muhammadi
executed a portrait of CAli-Quli Khan
worked in the kitabkhana of Farhad Khan.44 The interest
Herat in 1583, and this signed portrait is in an album

which Farhad Khan showed in the artists of his time, dethe Topkapi Palace Library (H. 2155, fol. 20b).49 T
spite political upheavals during the years 1590-99, sug-portrait and other paintings attributed to Muhammad
gests that he, as well as CAli Quli Khan, may have playedconfirm
a
that CAli-Quli Khan was an active patron of t
role in encouraging Shah CAbbas to patronize the arts.arts in Herat between 1577 and 1588. In later life, Ha
The note concerning Farhad Khan on the illuminated

CAli is reported to have traveled from Herat to Persi
dedication page of the Jdmic al-tawarnkh is further eviIraq, where he visited the holy sites and after remaini
dence that he was both a patron of the arts and a bibliin Baghdad for three or four years went to Mecca an
Medina. He died in the Hijaz in 1592-93.50
ophile. Farhad Khan must have had the copies of the latter work in the palace collection repaired in Khurasan or After the death of CAli-Quli Khan, Hasan CAli Katib l
Fars, probably in the 1590's; at that time the borders
Herat, either to find a new place to live and work or f
were added to reinforce the damaged pages of the old

purely religious reasons. The Topkapi Palace Museu
volume, a process which enlarged the book's size,45 andLibrary contains two manuscripts copied by Hasan CA
the illuminators decorated the chapter headpieces.
Katib in Karbala consisting of extracts from the Mun
141
Fig. 14. Peris in the forest. Munajat of 'Abdullah Ansari. Karbala, ca. 1590. Topkapi Palace Library, R. 10
decorated Ansari.
with gilded scenes of forest life. These margin(intimate conversation with God) by CAbdullah
One of these (R. 1046) consists of an extract
from Ansaal decorations
are brilliant examples of their kind in
both
theme and
technique.
The manuscript contains
ri's work,5' bound together with a copy of
CArifi's
Guy
u
five paintings,
two are double-paged painting spreads at
Chawgan, the latter inscribed by the celebrated
calligrathescript
beginning
and
end of the treatise. The first depicts a
pher Shah-Mahmud in a fine nastaClzq
in
956
(1549). Arifi's work is illustrated with three
miniatures
in forest (fols. 18b-19a) and the sechunting
scene in the
ondjinns
and peris in the forest (fols. 26b-27a) (fig. 14).
the Safavid court style. The miniatures and
illuminations
unusualcity
style of
of these paintings can also be seen in
suggest that the book was produced in theThe
capital
Qazvin, but a note at the end (fol. 26a) of the
thepainting
otherdepicting
man- a young man presenting the manuscript toAnsari's
a wise scholar which replaces the illuminated
uscript consisting of a section from CAbdullah
headpiece
on the
first page of text (fol. 19b).
treatise records that Hajji Hasan 'Ali inscribed
this
copy
The othersultan-i
manuscript inscribed by Hasan CAli Katib at
at the shrine of Husayn in Karbala (mashhad-i
Karbala,with
whichonly
is now in the Topkapi Palace Library (H.
Karbala). He wrote it in a large nastaclzq script
281),
consists
of
the first section of Ansari's treatise.52 At
seven lines to a page. Mounts of dark-blue paper surround the text outside the ruled borders, and these are
24.4 x 16 cm., this manuscript is 1.8cm. wider than the
142
FILIZ :AGMAN AND ZEREN TANINDI
the period, and these illustrations are reminiscent of the

lightly washed ink drawings in some albums. Although
this style of coloring resembles some examples of the so-
called Khurasan style in technique, the use of polychrome colors creates a very different impression. In
choice of color and the form of some of the plants and
rocks, they resemble the miniature by CAbdullah Shirazi
in the Topkapi Palace copy of the $ifat al-cashzqzn depict-
ing a young man and his companions encountering a

lion (fol. 20b) (fig. 9).53 Above all, the similarity between
the rocks, rendered in shades of blue and mauve, the
clumps of vegetation, and the style of decoration is remarkable.
It seems likely that both manuscripts were illustrated
and the margins decorated by an illuminator who

migrated to Karbala with Hasan CAli Katib between 1588
and 1590. CAbdullah Shirazi was advanced in age when

Hasan cAli traveled to Baghdad, and it is possible that he
too may have gone to this city, which was then part of the
Ottoman Empire, in order to escape the political upheavals in Khurasan and to visit the holy shrines. Alternatively, one of his students may have accompanied Hasan
CAli Katib. Although no mention is made of Hasan CAli's
having been anything other than a calligrapher, we can-
not ignore one final possibility - that the miniatures

and decorations of these two small manuscripts might be
his work.
There is very little evidence to suggest for whom these

manuscripts were produced or how they ended up in the
treasury.
Fig. 15. A young man presenting the manuscript to a wise
scholar. While the scenes depicting the presentation of
the manuscripts
to a scholar seem to represent Ansari,
Munajat of CAbdullah Ansari. Karbala, ca. 1590. Topkapi
Palace
Library, H. 281, fol. 2b.
they could as easily be some dignitary or statesman. Both
manuscripts were evidently originally bound together,
either in Baghdad or at the Ottoman palace, but at some
other. It is written in the same script, and the point
colophon
separated and one section was bound together
records that Hasan CAli inscribed it in Karbala. The
with Guy u Chawgan and perhaps in the eighteenth cenpasted-on margins are in a lighter shade of blue and
are placed in the Revan Koskii Library established for
tury
also decorated with gilded forest scenes. The beginning
the highest-ranking members of the royal household,
(fols. lb-2a) and end (fols. llb-12a) of this manuscript

the officials of the Privy Chamber (Has Oda). At the
also have double-page miniatures depicting hunting
front of Guy u Chawgan we see the seal of Mustafa III (r.
scenes; again the headpiece on the first page (fol.
2b) who established this library. At the front of the
1757-74)
depicts a young man presenting the book to a scholar.
other volume, which is housed in a treasury of Ansari's
The spaces above and below the line in which the name
work, is an illegible signature which probably belongs to
one of the treasury stewards (kedhiida).
ornamented with flowers (figs. 15-16). The wise scholar
Of course Hasan cAli was just one of the artists who
who appears in both pictures must be Ansari himself. migrated
Alfrom Safavid Persia to the Ottoman Empire.
though the trees, flowers, rocks, and other natural feaThere is documentary evidence that other calligraphers,
of CAbdullah Ansari occurs are decorated with rocks
tures, as well as the human and animal figures are

all
painters,
illuminators, and binders also arrived in the
completely painted, the background has been left
Ottoman capital in the second half of the sixteenth cenunpainted in both cases. This is an unusual feature for
tury.54
143
Fig. 16. Hunting scene. Munajat of CAbdullah Ansari. Karbala, ca. 1590. Topkapi Palace Library, H
headpieces
in this
manuscript represent rare examp
The final category of manuscripts are
illustrated
acof the Ottoman arts of the book executed in the prov
counts of the Ottoman-Safavid wars in 1578-90 executed

for the Ottoman sultans. The writers are annalists who
inces (in this case Aleppo) rather than in the pala
workshops
in Istanbul. The second copy of the Nuyrat
served with the Ottoman commanders during the
eastnama
at the Topkapi Palace Museum Library (H. 13
ern campaigns. One of these was Gelibolulu Mustafa
CAli
(d. 1600), a scholar, historian, and statesman, who
has
began
fifty-six miniatures, ornate floral marginal decor
tion, and an embroidered satin binding. It was produc
his career as secretary to the eastern-front commanders
at the palace workshops in Istanbul for Sultan Murad
and who subsequently served as financial officer (defterin 1584.59
dar) in Aleppo, Baghdad, and Egypt.55 During
these
Another
years he wrote books on history and literature, as well
as historian who recorded Ottoman-Safavid
relations
in the second half of the sixteenth centur
biographies. b His NuSratnama about the Georgian
camMehmed Pasha, whose cognomen was Asafi.
paign of Lala Mustafa Pasha, for whom he servedDal
as adalso a poet and clerk of the Council of St
ministrative assistant, was written in Aleppo in was
1581.57
There are two illustrated copies of this book: one,served
now in as secretary to Lala Mustafa Pasha, a post w
took him
to Shirvan, and subsequently served Mu
the British Library (Add. 22011),58 is dated Wednesday
at
Pasha's
the beginning (yavm al-arba'a ava'il) of the month
of successor Ozdemiroglu Osman Pasha as
tary
and administrative assistant. While with
Rabi II 990 (25 April-4 May 1582). Apart from one
miniPasha in Shamakhi he was sent to the fortress of Kabale,
ature the double-page illustrations and illuminated
144
then under siege, where he was captured by the Safavids
tures and magnificent gilded and colored illu
in 1582. He was taken to Qazvin and imprisoned, and
tions.6' The section relating to Asafi's period of slav
from there sent to Isfahan, where he was placed under

the supervision of the wealthy Sayyid Muhammad Emin.
Six months later Asafi escaped with another slave to Shiraz. From there he made his way to Kazarun, where he
Persia is illustrated with pictures showing Asaf
with Shah Muhammad Khudabanda, cAli-Quli Khan
Crimean Khan Ghazi Giray, and the Safavid P
Hamza Mirza (fols. 149a, 241b, 240a). One of the m
took a ship to Basra and thence to Baghdad. He

tures depicts Salman Khan, governor of Shirvan, p
remained there for some time before making his way toat the tomb of the Bibi Haybat (fol. 128b).
Erzurum to rejoin Osman Pasha in 1585.
During the reign of Murad III, another hist
Asafi wrote an account in verse of Osman Pasha's east-
Rahimizade Ibrahim Cavus, wrote Kitab-i Ganjina-
ern campaign, relating his own experiences in Iran

in (now at the Topkapi Palace Museum Libra
Ganja
detail. Entitled the Shajacatnama the work was inscribed
1296), about the Azerbaijan campaign of the c
by CAli b. Yusuf in Istanbul. The copy at the Istanbulmander

UniFarhad Pasha between 1583 and 1590.62 Pa
versity Library (T. 6043), dated Thursday, 15 Shawwal

masnavz verse form, this manuscript, dated 28 R
998 (6 March 1590), is illustrated with 20 miniatur
994 (29 September 1586), is illustrated with 77 miniahas one gilded and illuminated headpiece. It wa
sented to Sultan Murad III by the chief black e
Mehmed Aga.63 The style of the miniatures and ill

tion of two of these manuscripts, the Shajacatnam
Fath-i Ganja, suggests that they were the work of
artists (fig. 17).64
Although the series of conflicts between the Ott
and Safavids led to terrible human suffering b

1578 and 1612, these wars also had their positiv
they enabled not only the rulers of both states but

number of statesmen and dignitaries to pursue the
of books. During this period the Ottoman palac
sury acquired a large number of new manuscripts

trated with miniatures.
Topkapi Palace Library

Istanbul, Turkey
NOTES
1. The most significant manuscript to be brought to Ist
Safavid envoys is the Shahnama-i Firdawsi, known after
mer owner as the Houghton Shahnama, and now dispe

Ahmed Feridun's chronicle entitled Niizhet (el-asrar)
der sefer-i Sigetvar, the text states that the manuscript h
presented by the Safavid envoy Shah Kuli on 17 Sha
(16 February 1568) at Edirne to Sultan Selim II as a gif
, ^ ^.S..#>^W. : ',.: :;::
I - ~ /:':,..x:: , {,... , ,__-r - v

>t $;}3es*
dun's chronicle described the manuscript as containi

miniatures; see Topkapi Palace Museum Library H. 13
246b; Martin B. Dickson and S. Cary Welch, The Ho
Shahnameh (Cambridge, Mass., and London, 198
270-71. Among the gifts brought by the Safavid envoy

Han were many illustrated manuscripts from the reign
tan Murad III; see Shahinshahnama, Istanbul Uni
Library, F. 1404, fols. 41a-42b. Additional sources inf

that gifts were also presented to Sultan Murad III by t
vid prince Haydar Mirza, including numerous illustrate
Fig. 17. Conquest of Gori. Kitab-i Ganjina-i Fath-i Ganja.
Istanbul,see Kitab-i Ganjina-i Fath-i Ganja, Topkap
uscripts;
1590. Topkapi Palace Library, R. 1296, fol. 28b.
Museum Library, R. 1296, fol. 54a-b. Illustrated man
145
Karatay,
Farsfa Yazmalar, no. 756; Zeren Tan
were included among the gifts presented by 3.
a Safavid
envoy
1984), p. 12
during the circumcision festival of Sultan Murad (Istanbul,
III's sons; see
Another
illustrated copy of Asar-i Muzaffar,
Orhan $aik G6kyay, "Bir Saltanat Diiuginfi,"4.Topkapi
Sarayi
Miizesi Yzlzk 1 (1986): 31-35.
(12January 1567), is at the Chester Beatty Lib
235);
see
AJ.
2. An interesting group of manuscripts, which found
their
way
to Arberry, B.W. Robinson, E. Bloch
Chester
Beatty Library: A Catalogue of
the palace treasury, seem to have been owned atson,
one The
time
by
scripts
and
Sinan Pasha (d. 1596), an Ottoman statesman who
played
an Miniatures 3 (Dublin, 1962): 13-15.
ferred
to as Nizam in the introduction of the Dublin
important role in Ottoman-Safavid relations (see
$erafettin
Turan, "Sinan Pasa," Islam Ansiklopedisi 10 [1966]:
manuscript.
670-75). He
He says that he made it in 922 (1519)
thor's
name and the date do not appear in the Topk
was governor-general of Damascus and Egypt in
the 1560's,
and field marshal (serdar) of Yemen in 1568, of Tunisia
in 1574,
manuscript
copied one year later than the Dublin man
inthe
1568.
It is of
understood from the catalogue that the p
and of the eastern campaigns in 1577-82. During
reign
Husayn
Baiqara in the introduction to the Topka
Murad III he was appointed to the post of grand vizier
(vezir-i
azam) several times. An illustrated copy of the Shahnama
manuscript
of Firis not included in the Dublin manuscript.
5. flyleaf,
Ghulam which
Sarwar, History of Shah Ismail Safawi (Alig
dawsi in the palace collection has a note on its
reads Vezir-i azam Sinan Pasadan gelen kitaptzr sene
pp. 999
60, 64,
("This
86, 91-92; Roger Savory, "Some Notes on
book was given by Grand Vizier Sinan Pasha vincial

in 1590-91").
Administration of the Early Safawid Empire," B
Since it is known that Sinan Pasha had great wealth
Murad
the and
School
of Oriental and African Studies 24 (1964): 117
6. Hasan-i
III was a true bibliophile, this note suggests that
SinanRumlu,
Pasha Ahsenu' t-Tawarikh, trans. C.N. Sedd
1934), p. 129.
hoped to regain his position of grand vizier afterroda,
his dismissal
7. Mustafa
CAli mentions Maulana Muhyi as the best c
on 2 August 1591 through this gift (R. 1544); see
Fehmi Edhem
Khurasan:
Menakzb-i Hiinerveran (Istanbul, 1926), p
Karatay, Topkapz Sarayz Miizesi Kiitiiphanesi Farsfa in
Yazmalar
Katacalligrapher
logu (Istanbul, 1961), no. 362; G. Inal, "Topkapl Sarayl
Koleksi-copied one of the Divans of Ali Shir Nava
(1578-79):
see Mehdi Bayani, Specimens of Fine Writing f
yonundaki Sultani Bir Ozbek $ahnamesi ve Ozbek
Resim
Sanati Icindeki Yeri," Sanat Tarihi Yzllzgh 6 (1974-75):

315, figs.
Imperial
Library of Iran (Tehran, 1951), p. 146, no
21-22. Many examples at the Topkapi Palace Library

Ahmad said
show
that even Muhammad Husayn, the son
that Sinan Pasha was interested in illustrated manuscripts.
rapher Maulana Muhyi, worked in Herat, Calligrap
One of the books he is said to have owned dates from the mid-
Painters: A Treatise by Qadi Ahmad, Son of Mir-Munshi

dle and others to the second half of the sixteenth century. The 1015/A.D. 1606), trans. V. Minorsky (Washington, D.C
illustrated books that belonged to Sinan Pasha are as follows:p. 75.
two examples of the Shahnama of Firdawsi (H. 1481: see Kar8. For Muhammadi and the Khurasani style, see Barbara
atay, Farsfa Yazmalar, no. 354; Gfner Inal, "$ah Ismail Devrin- Schmitz, "Miniature Painting in Herat 1570-1640," Ph.D. diss.,
den Bir $ahname ve Sonraki Etkileri," Sanat Tarihi Yzllzgi 5New York University, 1981, pp. 92-110; Basil W. Robinson,
[1972-73]: 511, fig. 25); H. 1505: see Karatay, Farsfa Yazmalar,"Muhammadi and the Khurasan Style," Iran 30 (1992): 17-29,
no. 375); one Kulliyat-i Sacdi (R. 924: see Karatay, Farsfa Yaz-pls. 4-11.
malar, no. 539); one of Qazvini's CAjadib al-Makhluqat (H. 403:
9. Basil W. Robinson, Jean Pozzi: L'Orient d'un collectionneur
see Karatay, Farsfa Yazmalar, no. 197); two examples of the (Geneva, 1992), no. 131; Robinson, "Muhammadi," p. 26, K. 5,
Khamsa of Nizami (H. 780: see Karatay, Farsfa Yazmalar, no.pl. VIIIb.
455; Ivan Stchoukine, Les peintures des manuscrits de la "Khamse"
10. This album is the product of the same workshop as Asar-i
de Nizami au Topkapi Sarayz Miizesi d'Istanbul [Paris, 1977], p. Muzaffar. It includes calligraphy signed by Muhyi al-Katib al-
129, no. XLIX; H. 749: see Karatay, Farsfa Yazmalar, no. 471;Haravi (fol. 88b), Muhyi (fols. 3a, 26a, 40b, 78a, 89b, 90b; the
Stchoukine, Les peintures des manuscrits de la "Khamse" pp.latest dated is 988 [1580-81], Ahmad al-Husayni al-Mashhadi
140-42, no. LVII), and one Mihr u Mushtari (R. 1026: see Kar-(fols. 21b, 30b), Yari al-Katib (fols. 3a, lOb dated 982
atay, Farsfa Yazmalar, no. 623). When he was the commander[1574-75], 16b, 22b, dated 980 [1572-73], 35a, 89a). The minof the eastern front he probably bought these books or iatures are also in the Khurasan style. Among them are the
received them as gifts. In the Topkapi Palace Library, there are works of two artists who painted illustrations for Asar-i
some illustrated manuscripts that belonged to two other Otto- Muzaffar (fols. 4a, 96a). In addition, there are miniatures
man bureaucrats, also working on the border between thesigned by Bahram Qulu (fols. 94b, 95b) and Muhammad IsfaOttoman Empire and Iran. One of them was the governor- hani (fol. 20a). The margins are decorated with very colorful
general of Gence Davud Pasha; see Bekir Kiutikoglu, Osmanlz-human and animal figures and branches, leaves, and flowers.
Iran Siyasi Miinasebetleri (1587-1612) (Istanbul, 1993), p. 236;The margins of Jami's two masnavzs at the Chester Beatty
the other was the governor-general of Erzurum Saatcl HasanLibrary in Dublin are also decorated in the same style (The
Pasha; see Kfitfikoglu, Osmanlz-Iran, pp. 211, 264, 265, 270;Chester Beatty Library: A Catalogue of the Persian Manuscripts and
Cornell H. Fleischer, Bureaucrat and Intellectual in the OttomanMiniatures, vol. 2, nos. 209, 210).
Empire: The Historian Mustafa Ali (1541-1600) (Princeton,

11. Robinson, "Muhammadi," p. 23, M. 20, pl. XI. The miniature
1986), p. 151. An example of the Shahnama of Firdawsi (H. on the page opposite the painting in the Khalili collection
1503: see Karatay, Farsca Yazmalar, no. 374) and the Khamsa of shows a young man playing a musical instrument. Below the
Nizami (B. 147: see Karatay, Farsfa Yazmalar, no. 422), the for- painting is written "amal-i abd al-mudhahhib al-Shirazi." The aumer belonging to Davud Pasha and the latter to Saatci Hasan thors thank Dr. Nahle Nasser for providing the opportunity to
Pasha, were brought by these men as gifts to the Topkapi Pal- examine it. A Khamsa of Nizami (R. 884; see Karatay, Farsfa Yazace.
malar, no. 483) in the Topkapi Palace Library was also copied
146
22. For
by Muhammad Husayn al-Husayni in Qazvin in Muharram
982the scribe, see Qadi Ahmad, Calligraphers and Painters, p.
170.
(23 April-22 May 1574); Stchoukine, Lespeintures des manuscrits
23. For CAbdullah Shirazi and his works, see Qadi Ahmad, Calligde la "Khamsa, "p. 144, no. LX.
raphers and Painters, pp. 189-90; Eskender Munshi, History of
12. Illustrated manuscripts were also produced in the Khurasan
Shah Abbas, p. 274; Barbara Schmitz, "Miniature Painting in
region such as Belh, Sabzavar, and Tun between 1564 and 1586
in addition to Reze (Raz) and Bakharz. Some of the books

in pp. 120-23; Priscilla Soucek, "Abdallah Sirazi," EncyHerat,"
clopedia Iranica 1 (1982): 204-6; Ali Alpaslan, "Abdullah-i
the Topkapi Palace Library, such as Muhammad Gazali Mashadi's Naqsh-i badi, were copied by the scribe Muhammad $irazi,"
Han- TiirkiyeDiyanet Vakfi IslamAnsiklopedisi 1 (1988): 136-37;
dan in Sabzavar for the kitabkhana of Sultan Ibrahim Mirza in
Abolala Soudavar, Art of the Persian Courts (New York, 1992),
Muharram 982 (23 April-22 May 1574) (R. 1038, Karatay, pp. 229-31.
Farsfa Yazmalar, no. 787; Filiz (agman and Zeren Tanindi, Top24. B. W. Robinson, "Persian and Pre-Mughal Indian Painting,"
kapz Palace Museum: Islamic Miniature Painting [Istanbul, 1979], The Keir Collection: Islamic Painting and the Art of the Book (Lonno. 105; M. Shreve Simpson, "The Making of Manuscripts and don, 1976), no. III. 232, pl. 24.
25. M. Shreve Simpson, "Shaykh Muhammad," in Persian Masters:
the Workings of the Kitab-khana in Safavid Iran," " The Artist's
Workshop. Studies in the History of Art 38, Center for Ad- Five Centuries of Painting, ed. Sheila R. Canby (Bombay, 1990),
vanced Study in the Visual Arts, Symposium Papers XXII pp. 99-112; Soudavar, Art of the Persian Courts, pp. 232-36;
[Washington, D.C.: National Gallery of Art, 1993], pp. 115-16); Simpson, "Making of Manuscripts," pp. 115-16, n. 71.
the Divan of Hafiz in Tun (H. 986, see above n. 16) and a
26. Soudavar, Art of the Persian Courts, pp. 229-31. This frontispiece
belongs to the manuscript of Hilali's Sifat al-'ashiqin, made for
Khamsa of Khusraw Dihlavi were copied in Bakharz on the first
a certain Salim al-Anami Isfahani, and copied by Muzaffer
(ghurra) of the month of Muharram 934 (27 September 1527)
Husayn al-Sharif al-Husayni in 990 (1582).
(H. 797, fol. 167a); see Karatay, Farsfa Yazmalar, no. 598. Although the illuminations of the last work are original, the min-27. This colophon also records that the work was copied by
Muhammad al-Katib Reze. The scribe's name is immediately
iatures are not. For other illustrated manuscripts prepared in
Khurasan, see Ahmet Ates, Istanbul Kiitiiphanelerinde Farsfa

Manzum Eserler 1 (Istanbul, 1968), pp. 294-95 no. 453; Kemal
Clg, "Turk ve Islam Eserleri Muzesi'ndeki Minyatlrlu Kitaplarln Katalogu," Sarkzyat Mecmusz 3 (1959): 63, no. 2; Schmitz,
"Miniature Painting in Herat," pp. 112, 118-20; Norah M. Titley, Persian Miniature Painting (London, 1983), p. 109.
13. Ismail H. Uzuncarsli, Topkapi Sarayi Miizesi Miihurler Seksiyonu
followed by "Reze" without the typical word for "in" or "at";

however, the word cannot properly be read as a nisba (indicating the copyist's origin) because it is spelled incorrectly. We
propose here that he intended to say that the manuscript was
Rehberi (Istanbul, 1959); idem, Osmanl Devletinin Saray Teskilatz
traits of noblemen painted on double pages and are actually

not related to the text of the book (fols. lb-2a, 57b-58a).
Therefore, it is questionable whether they were made by the
(Ankara, 1984), p. 319.
14. Flndlkll Mehmed Aga, Silahdar Tarihi (Istanbul, 1928), pp.

586-603; J. Hammer-Purgstall, Osmanlz Devleti Tarihi, ed.
Miumin Cevik and Erol Kilhc (Istanbul, 1986), pp. 286-88;
Agah S. Levend, Nabi'nin Surndmesi (Istanbul, 1944), pp. 11,
copied in Reze in Shacban 989 (31 August-28 September
1581) (Karatay, Farsfa Yazmalar, no. 776; see Alpaslan, "'Abdullah-i $irazi," pp. 136-37). Four of the seven miniatures are por-
same artist. However, the remaining three paintings are clearly

related to the text, and they are in the style of CAbdullah Shi-
razi (fols. 20b, 29b, 50a). The illuminated heading with
25-28.
human faces between the decorations (fol. 2b), the bordering

15. Karatay, Farsfa Yazmalar, no. 367; 14 miniatures in the book, illumination which runs along the edge of the double-page
copied by calligrapher Fani from Shiraz, and datable to be- illustrations (fols. lb-2a), and the illumination at the end of
tween 1550 and 1560, are good examples of Shiraz-workshop the colophon (fol. 57a) must all be the work of CAbdullah.
This artist, known also as a master of lacquer prepared the lacoutput during the Safavid period.
16. Karatay, Farsfa Yazmalar, no. 405. See Ivan Stchoukine, "Sultan quer for both the front and back covers, but the illustrations of
Ali al-Bavardi, un peintre iranien inconnu du XVe siecle, Syrie the outer binding, consisting of human figures and floral
44 (1967): 401-8; Priscilla Soucek, "Illustrated Manuscripts of designs, are probably the work of another artist. The inner
Nizami's Khamseh, 1386-1482," Ph.D. diss., New York Univer- sides of the cover are of claret leather decorated with a gilded
sity, 1971, pp. 275-82; Stchoukine, Les peintures des manuscripts medallion. The front cover of the binding is in the Keir Collecde la "Khamseh, "pp. 50-54, pl. XXV-XXIX; Ernst Grube and tion, London. See B. W. Robinson, "The Arts of the Book: PerEleanor Sims, "The School of Herat from 1400 to 1450," The
sia, Turkey and Pre-Mughal India," Islamic Art in the Keir CollecArts of the Book in Central Asia, ed. Basil Gray (London 1979), tion (London, 1988), pp. 16, 27, pl. XVIII. In addition to the
pp. 162,172, pls. LV-LVI.
Topkapi Palace Library manuscripts, the Divan of Jahi, which
17. Karatay, Farsfa Yazmalar, no. 621. See Zeren Tanindi, "Mihr-fi was illuminated and painted by CAbdullah Shirazi, also has a
Muiiteri Minyaturlerinin Ikonografik Cozfimlemesi," Sanat lacquer binding (see Bayani, Specimens of Fine Writing, p. 136,
Tarihinde Ikonografik Arastzrmalar. Giiner inal'a Armagan no. 32). For the other works signed by the artist, see Barbara
(Ankara, 1993), pp. 457-90.

Schmitz, "Miniature Painting in Herat," pp. 120-23; Priscilla
18. Karatay, Farsfa Yazmalar, no. 634; (agman and Tanlndl, Top- Soucek, "CAbdallah Sirazi," pp. 204-6. The illuminations in
kapi Palace Museum, no. 106, fig. 36.
some manuscripts in the Topkapi Palace Library are similar in
19. Eskender Munshi, History of Shah Abbas the Great, trans. R. M. style to 'Abdullah Shirazi: e.g., Sa'di's Bustan (R. 935, Karatay,
Savory (New York, 1986), pp. 379, 549, 585, 651, 658, 664.
Farsfa Yazmalar, no. 571); Qazvini's CAjadib al-Makhluqat (H.
20. Ibid., p. 379.
403, H. 407. Karatay, Farsca Yazmalar, no. 197, 196) the Khamsa
21. Ibid., pp. 224, 259. For the accession date of Shah CAbbas, see of Nizami (R. 884, H. 780. Karatay, Farsfa Yazmalar, no. 483,
Kiitiikoglu, Osmanlz-Iran p. 188, n. 145.
455, Stchoukine, Les peintures des manuscrits de la "Khamseh, "p.
147
33. Faruk
Sfimer,
Safevi Devletinin Kurulusu ve Gelismesinde Anadolu
144, no. LX; p. 129, no. XLIX); Naqsh-i badi (R. 1038;
see
above,
Rolii (Ankara, 1992), pp. 193-94.
n. 10) Jami's Haft Awrang (H. 1483, Karatay, FarsfaTiirkleri'nin
Yazmalar,
no. 360. In Karatay's catalogue this work was

34. erroneously
One of the illuminations of H. 1654 is published: see Ates,
Cami
al-Tavarih,
pl. 1 (H. 1654, fol. 168b); Jahn, Die Geschichte
included among the Nizami, Khamsa, manuscripts).
For
illusder "Maulana
Kinder Israels, pl. 2 (H. 1654, fol. 272b).
trations of the manuscript, see Ivan Stchoukine,
Shaykh Mohammad, un maitre de l'ecole de35.Meshhed
The seals that du
are stamped on some pages of H. 1654 and then
painted
over have
the inscription " vaqf-i safiyya-i safaviyya astana-i
XVIe sicle," Arts Asiatique 30 (1974): 1-11, pls. I-VI;
Filiz
Cag1017" (fol. 287a). Some pages of the books in the Topman and Zeren Tanlndl, The Topkapt Saray Museum: mubaraka.
The Albums
and Illustrated Manuscripts, ed. and trans. J. M. Rogers
kapi Palace
(LonLibrary have the same seal. One of them is Jami's
don, 1986), no. 113-18. All of the high-quality illustrations
Haft Awrang,of
which has illuminations, illustrations, and a bindthe manuscripts cannot be ascribed to CAbdullah ing
Shirazi,
of high quality
but (H. 1483, fols. 105a, 229a; see above, n. 21).
the representation on the last page and some of The
the
same
illumiseal is also stamped on a copy ofJami's Haft Awrangin
nated headings (fols. 60b, 201b, 229a) are in a style
tosee Simpson, "Production and Patronage," p.
thesimilar
Freer Gallery;
his. The design of the illuminations of Jami's Haft 111.
Awrang
in was brought from the astana of Shah Safi to
This last book
the Freer Gallery of Art, Washington D.C., are identical
with
the Mughal
palace. In the Topkapi Palace Museum, a copy of
the Shdhnama of Firdawsi bears the same seal (H. 1496). See Kathe Topkapi Palace Haft Awrang, and one of the illuminated
headings of the Freer manuscript is signed by CAbdullah

Shiratay, Farsca
Yazmalar, no. 336; Gagman and Tanind, Topkapz Palrazi. See M. Shreve Simpson, "The Production and
Patronage
aceMuseum,
no. 35. On one sealed page of the book (fol. 3a), it is
of the Haft Awrang byJami in the Freer Gallery of Art,"
writtenOrienthat this book was endowed by CAbbas al-Safavi for the
astana of Shah Safi in 1017 and that it is forbidden to take it out
tal Art13 (1982): 98, 116.
the astana;
28. Karatay, Farsca Yazmalar, no. 99. See Mehmed of
Aga
Oglu,whoever takes it will be damned.
"Some Unknown Muhammedan Illustrated Manuscripts

in History of Shah CAbbas, pp. 63, 67; Tadkirat al36. Eskender Munshi,
the Library of the Topkapl Muizesi at Istanbul," Orientalische
Muluk: A Manual of Safavid Administration (circa 1137/1725),
Literaturzeitung 34 (1931): 330; idem, "Preliminary
Notes
onV. Minorsky (London, 1943), p. 191.
trans.
and ed.
Some Persian Illustrated Manuscripts in the Topkapl
Miizesi,"
37. Eskender
Munshi, History of Shah Abbas, pp. 581, 611, 612, 617,
622,"An
638, 657.
Ars Islamica 1 (1934): 183-84; Richard Ettinghausen,
Illuminated Manuscript of Hafiz-i Abru in Istanbul,"
Kunst
des
38. Ibid.,
pp. 674-90.
Orients 2 (1955): 30-44; Ahmet Ates, Rasid al-Dzn
Failallah,
39. Ibid.,
pp. 749, 752, 760-62.
Cami al-Tavarih, Sultan Mahmud ve Devrinin Tarihi
40. Ibid.,(Ankara,
p. 762.
1957): pp. 22-25; Gfiner Inal, "The Fourteenth-CenturyJamiC
41. Kuitiikoglu, Osmanl-Iran, pp. 217-18. Zu'l faqar Khan watched
al-Tawarikh in the Topkapl Museum in Istanbul,
Hazine
the sultan's
parade entering Istanbul from the houses of aspLibrary no. 1653," Ph. D. diss., University of Michigan,
1965; In the palace library, on one of the paintbasz in $ehzadebasl.
Karl Jahn, Die Geschichte des Oguzen des Rasid ad-Din
(Vienna,
ings of
the Shahname-i Sultan Mehmed III, Zu'l-faqar Khan is
1969); idem, Die Chinageschichte des Rasid ad-Din

(Vienna,
shown
watching this parade (H. 1609, fols. 68b-69a). See
Zeren Tanlndl,
1971): 19-69, pls. 1-38. Guner Inal, "Artistic Relationship
be-"Nakkas Hasan Papa," Sanat 6 (1977): 118-19.
tween the Far and Near East Reflected in the Miniatures of the
42. Eskender Munshi, History of Shah Abbas, pp. 615, 688, 762, 830,
923, 983, 1009.
Jamic at-Tawarikh," Kunst des Orients 10 (1975): 108-43.
29. The manuscripts in the Topkapi Palace Library that bear43.
the
Qadi Ahmad, Calligraphers and Painters, pp. 37, 46-48. A
seal of Shahrukh are as follows: a Shahnama of Firdawsi (H. painted copy of Qadi Ahmad's treatise found in Moscow is
1479, fols. 95a, 221a. Karatay, Farsca Yazmalar, no. 332); a Shah-dedicated to Farhad Khan; see ibid., pp. 34-35.
nama of Firdawsi, Khamsa of Nizami, and Lugat al-Furs44.
(H.Ibid., pp. 167, 170-72; Anthony Welch, Artists for the Shah (New
1510, 6a, 222a, 377a, Karatay, Farsca Yazmalar, no. 348), Kulli-Haven, Conn.: Yale University Press, 1976), pp. 174-75.
yat-z Hafiz-z Abru (B. 282, la, 938b. Karatay, Farsfa Yazmalar, 45.
no. H. 1653: page 54.1x 38cm; text 33x 22cm (Ilkhanid period),
138).
30. Faruk Siumer, "Anadolu'da Mogollar," Sel4uklu Arastzrmalan
Dergisi 1(1969): 81-90.
31. One of the illuminations of H. 1653 is published. SeeJahn, Die
Chinageschichte, pl. 1 (H. 1653, fol. 391b).
32. Karatay, Farsfa Yazmalar, no. 940; Ates, Cami al-Tavarih, pp.
20-22; Gfiner Inal, "Some Miniatures of the Jamic al-Tawarikh
in Istanbul Topkapl Museum Hazine Library no 1654," Ars

Orientalis 5 (1963): 163-75; KarlJahn, Die Geschichte der Kinder
Israels des Rasid ad-Din (Vienna, 1973), pp. 21-101, pls. 1-46;
Jahn, Die Geschichte der Oguzen, pp. 11-13, pl. 2, 4, 6, 8,13,16,18,
21, 23, 24; idem, Die Chinageschichte, p. 13, pl. 3; Basil Gray,
"History of Miniature Painting, The Fourteenth Century," The
Arts of the Book in Central Asia, ed. B. Gray (Paris and London,
1979), p. 96, ills. 66-67; Guner Inal, "Miniatures in Historical
Manuscripts from the Time of Shahrukh in the Topkapl
Palace Museum," Timurid Art and Culture: Iran and Central Asia
in theFifteenth Century (Leiden, 1992), pp. 106-16.
31.2x 23.2cm. (Timurid period); H. 1654: page: 54.7x 38cm.,

text 36.2 x 25.4cm. (Ilkhanid period; in this volume there is no
Timurid text).
46. Evliya Celebi tells us that the Ottomans, in the time of Sultan
Osman II (1618-22), conquered Ardabil without destroying

the city and brought all its treasures to Istanbul. See Mehmed
Zillioglu, Evliya Celebi, Seyahatnamesi 7, trans. Zuhuri Danilman (Istanbul, 1971), pp. 73-74.
47. Qadi Ahmad, Calligraphers and Painters, pp. 138-40; Mustafa
Ali, Mendkib- Hiinerverdn, p. 51.
48. Schmitz, "Miniature Painting in Herat," pp. 1-13; Roger N. Savory, "Ali-Qoli Khan Samlu," Encyclopedia Iranica 1 (1982):
875-76.
49. Schmitz, "Miniature Painting in Herat," pp. 92-100; Robinson, "Muhammadi and the Khurasan Style," p. 20, pl. IVc. For
the paintings of the Shah CAbbas period in album H. 2155, see
Cagman and Tanindl, Topkapz Palace, no. 107-9; idem, Topkapz
Saray, no. 123.
148
FILIZ GAGMAN AND ZEREN TANINDI
50. Qadi Ahmad, Calligraphers and Painters, p. 140.

59. Ivan Stchoukine, La peinture turque d'apres les manuscrits illustres
51. Karatay, Farsfa Yazmalar, no. 664. Fols. lb-17a of this book
con-1966), pt. 1, pp. 75-76, pls. LIX-LXI; Nurhan Atasoy
(Paris,
tain Arifi's Guy u Chawgan and fols. 19b-21a have CAbdullah
and Filiz (agman, Turkish Miniature Painting (Istanbul, 1974):
Ansari's mystic poems.
pp. 49-50, pls. 27, 28; Gagman and Tanlndl, Topkapz Saray
Museum,
52. Karatay, Farsfa Yazmalar, no. 29. An example of the
calli-no. 159.
graphic work Katib Hasan did in Karbala is in an album

in the
60. Fleischer,
Bureaucrat and Intellectual, pp. 81-82; Kfitukoglu,
p. 125; for detailed information about the life of
Topkapi Palace Library (H. 2145, fol. 23a). In the same Osmanlz-Iran,
album
is another calligraphic work also signed by Hasan CAliAsafi
MashPasha in captivity, see Shajacatnama, Topkapl Sarayl
hadi (H. 2145, fol. 43b). Three other examples signed

Mfizesi
by Kfitfiphanesi, R. 1301, fols. 254-78 (Karatay, Turkfe Yaz-
malar, no. 705.); Ismail H. Danismend, Izahlz Osmanlz Tarihi

Hasan CAli are in Topkapi albums (H. 2159, fol. 53b) (written
in Herat); H. 2156, fol. 74b; and B. 407, fol. 37b.
Kronolojisi, 3 (Istanbul, 1972), p. 81.
61.p.
Ivan
Stchoukine and Fehmi Edhem, Les manuscrits orientaux
53. For this painting, see Alpaslan, "Abdullah-i $irazi,"
136.
54. Fleischer, Bureaucrat and Intellectual, p. 123 n; Mustafa
illustres
Ali,de la bibliotheque de l'universite de Stamboul (Paris, 1933),
Menakib-i Hiinerveran, pp. 38-40; 73-74; 67-68; Welch, Artists
no. IV, pls. IV-V; Stchoukine, La peinture turque 1: 80, 128, 147,
for the Shah, pp. 6-7, and below, n. 63.
55. Fleischer, Bureaucrat and Intellectual, pp. 315-18.
pls. LXII-LXXIV; Gfiner Inal, "The Influence of the Kazvin
Style on Ottoman Miniature Painting," Fifth International Con-
56. A copy of this book, Nushat al-Salatin (Counsel for sultans),

gress of Turkish Art, ed. G. Feher (Budapest, 1978), pp. 459-461,
pls. 3-10.
which he wrote during the period when he was registrar
of
62.copy
For Rahimizade
Ibrahim Cavus, see Danismend, Izahlz Osmanlz
timarin Aleppo (1581-83), contains miniatures. This
was
made by the calligrapher Qasim in Dhu'l-Qa'da Tarihi

988 3:(8561.
December-6January 1581) in Aleppo. In this work in63.

the
Top- Turkfe Yazmalar, no. 706; Stchoukine, Peinture Turque 1:
Karatay,
kapi Palace Library, there are three miniatures, but most
82, pl.of
LXXV; Atasoy and Gagman, Turkish Miniature Painting,
the spaces reserved for miniatures remain unpainted (R.p.406).
50; (agman and Tanindl, Topkapz Palace, no. 160; Inal, "InSee Fehmi Edhem Karatay, Topkapi Sarayz Miizesz Kiitiiphanesi
fluence of the Kazvin style," p. 464, fig. 15. The wars between
Turbe Yazmalar Katalogu (Istanbul, 1961), no. 1525; Fleischer,
the Ottomans and the Safavids that took place during the
Bureaucrat and Intellectual, p. 106, n. 90; Gulru Necipoglu, reign
Archiof Murad III (1575-95) were the subject of the Shahnama
of Sultan Murad III. This work, in two illustrated volumes, was
tecture, Ceremonial and Power: The Topkapz Palace in the Fifteenth
and Sixteenth Centuries (Cambridge, Mass., 1991), fig.written

54. In in Persian by Sayyid Loqman (first volume, Istanbul
1585-86, when CAli worked as registrar in Baghdad, he
conUniversite
Kiutuphanesi F. 1404; see Stchoukine and Edhem,
tributed to the cultural life of the city. During this time
is
Les it
manuscrits
orientaux, no. III, pls. II-III; Stchoukine, La peinknown that thirty Ottoman and Safavid poets lived inture
Baghturque 1: 68, pls. XXXVIII-XXXIX; Atasoy and Gagman,
dad. CAli met the court secretary and qissehkhvan of Shah
Tah-Miniature Painting, pp. 36-38, pls. 17-19. Second volTurkish
masp, Qutbeddin Yazdi, there and acquired a copy of the
book
ume:
Topkapl Sarayl Muzesi Kiutiphanesi B. 200; Edhem, Farof biographies of calligraphers and illustrators thatsfaYazdi
Yazmalar, no. 792, Stchoukine, Peinture turque 1: 83-84, 129,
wrote for the shah. This book and his friendship with Qutbedpls. LXXXVII-LXXXIX; Atasoy and Gagman, Turkish Miniadin inspired CAli to write the Manaqzb-i Hunarvaran, "the
tureartPainting, pp. 50-51, pls. 29-30; Gagman and Tanindl, Topists' exploits" a subject that interested him very much
kapz(see
Saray Museum, no. 161-163). Although the calligraphers of
Fleischer, Bureaucrat and Intellectual, p. 123). In 1583,these
in the
two works were Persian, the illuminations, paintings,
same city he also ordered the preparation of a copy of
and the
bindings are Turkish in style. On the other hand, the illubook, Cami al-buhur dar macalis-i sur, which dealt with the
cirminations,
illustrations, and the bindings of Sayyid Loqman's
cumcision feast of the sons of Sultan Murad III. Its illuminaHunarnama (H. 1524; see Karatay, Tiirkfe Yazmalar, no. 689;
tions are painted, but the spaces prepared for the miniatures
Stchoukine, Peinture turque 1: 34, 76-79, 123, 126, pls. LXVIare left blank (B. 203); see Karatay, Tiirkfe Yazmalar, no. 2347;
LXXI; Atasoy and Gagman, Turkish Miniature Painting, pp.
Fleischer, Bureaucrat and Intellectual, p. 106, n. 88, 90; Gokyay,
46-48, pls. 25, 26; Gagman and Tanindl, Topkapz Palace, no.
"Bir Saltanat Diiguinii," pp. 21-55, fig. 1. During the time 153;
he Gagman and Tanindl, Topkapz Saray Museum, no. 160)
spent in Baghdad, CAli visited some secret places in Iraq and
show the Turkish style where the halkari decorations of the
erected a fountain near the site of Imam Husayn's martyrdom.
pages and some paintings are made under the influence of the
See Fleischer, Bureaucrat and Intellectual, p. 124.
Safavid artists (see Inal, "Influence of the Kazvin Style," p. 464,
57. Ibid., pp. 91, 105.

figs. 16, 17; Zeren Tanindl, "Topkapl Sarayl Miizesi Kiutupha58. G. M. Meredith-Owens, Turkish Miniatures (London, 1969),nesi'nde
p.
Bulunan Veli Can Imzali Resimler," Journal of Turkish
27, pls. XVI-XVII; Titley, Persian Miniatures, pp. 150-51,153. Studies.
In
FahirIz Armaganz, 15 (1991): 291-92, pls. 17, 18.
this book there are five double-page illustrations and an
64. illuInal, "Influence of the Kazvin Style," pp. 459-61.
minated heading.

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Remarks on Some Manuscripts from the Topkapi Palace Treasury in the Context of

FILIZ CAGMAN AND ZEREN TANINDI

REMARKS ON SOME MANUSCRIPTS FROM THE

The large number of Safavid manuscripts illustrated

exchange. During this period generals, ambassadors,

statesmen, writers, and poets on both sidesthey

ber were either purchased or received as gifts

which entered the Ottoman treasury through variou

property and fortunes of statesmen and members ofrelations

MANUSCRIPTS FROM THE TOPKAPI PALACE TREASURY

f<;-. :"': ' . . '. . .. I.-"..

Ottoman histories which relate to the Ottoman-Safavid

The first category, manuscripts produced for Safavid

biography of the Prophet Muhammad entitled Asar-i

din Muzaffar Bitikchi served under Shah Ismacil in Khu-

Khurasan school (fols. 114b, 158b) (fig. 3). An album

FILIZ CAGCMAN AND ZEREN TANINDI

are to be found in the seals and a note inscribed on the

first page (fol. la) of the Asar-i Muzaffar, which also be

was in use until the palace became a museum.'3 It w

also stamped in all the books which entered the treasu

of the late musahib Mustafa Pasha" in Dhu'l-Hijja 109

the sultan's daughter at a splendid wedding in Edirne i

with miniatures, also came from the estate of

Khurasan such as Sabzavar or Bakharz. This conclusion

MANUSCRIPTS FROM THE TOPKAPI PALACE TREASURY

between October 1581 and March 1586. The outer and

worked in Khurasan for most of his life. As indicated in

FILIZ CAGMAN AND ZEREN TANINDI

signature, CAbdullah mudhahhib, appear on a rock.2" Th

fact that CAbdullah Shirazi executed both the illumina-

tion and miniatures for another copy of Sifat al-'ashiqin

The remaining three miniatures in the Divan of Hafiz

does not display any correspondence with his own

III, the manuscript has no other stamps or inscriptions,

information that could have pointed to how and when

the palace towards the end of the sixteenth century,

under the patronage of Turkoman bureaucrats serving

The love of books and contribution to this field of art

Hafiz. Tun, 1581-86. Topkapi Palace Library,

of the Jdmic al-tawarikh, the world history written by the

ture (fol. illb) illustrating a poetryentries

now in the Keir Collection in London.24

month of Jumada II 714 (ca. 1-10 October 1314)

MANUSCRIPTS FROM THE TOPKAPI PALACE TREASURY

: , ...... . ... .....

Fig. 7. A young aristocrat and his f

Fig. 6. Polo players. Attributable to CAbdullah

Fig. 9. A young man and his compan

FILIZ (AGMAN AND ZEREN TANINDI

Fig. 11. Illuminated dedication page. Jamic al-tawarnkh. 1590's.

teenth-century Timurid style containing a gilded

turned, and he was obliged to flee his country in 727

MANUSCRIPTS FROM THE TOPKAPI PALACE TREASURY

.. p 8 ' . .- ^ ...... ,; i:-

1;j- t x . *~, , "-~

/i^ ^>^u-b^ ^^^-^^rLj;S ^-u-

^;:^^ > ^-^ ^' *'

;^^^ ^^t^(eL--^ ^J^^^C^; - '^^'

^.i^j^^st?^!"^^!!^ -c' 3I~'~- **:** J^***^^:^**?^"""

The second copy of the Jamic al-tawarkh (H. 1654) in

FILIZ CAGMAN AND ZEREN TANINDI

Yildiz Palace during the reign of Sultan Abdulhamid

^.i^j^^st?^!"^^!!^ -c' 3I~'~- : J^*^^:^?^"""