Bezmiâlem Vâlide Sultan Koleksiyonu'nda yer alan bir 16. yüzyıl Nizâmî Hamsesi: Beyazıt 5710 numaralı nüsha
16th century Khamsa of Nizâmî from the Bezmiâlem Vâlide Sultan Collection: The Beyazit b5710 manuscript
- Tez No: 964441
- Danışmanlar: DOÇ. DR. ASLIHAN ERKMEN BİRKANDAN
- Tez Türü: Yüksek Lisans
- Konular: Sanat Tarihi, Art History
- Anahtar Kelimeler: Nizami, Khamsa, Bezmiâlem Vâlide Sultan, Safavid-Shiraz Style, Beyazıt Library
- Yıl: 2025
- Dil: Türkçe
- Üniversite: İstanbul Teknik Üniversitesi
- Enstitü: Lisansüstü Eğitim Enstitüsü
- Ana Bilim Dalı: Sanat Tarihi Ana Bilim Dalı
- Bilim Dalı: Sanat Tarihi Bilim Dalı
- Sayfa Sayısı: 177
Özet
Bu tez, İran'ın büyük şairlerinden Nizâmî Gencevî'nin (ö. 611/1214) ünlü ve bir janra adını veren eseri Hamse'nin Türkiye Yazma Eserler Kurumu (TÜYEK) Beyazıt Yazma Eserler Kütüphanesi B5710 numaradaki yirmi bir tasvir içeren nüshasını merkezine almaktadır. Nizâmî Hamsesi veya Hamse-i Nizâmî olarak da anılan eser beş mesneviden oluşmaktadır: Mahzenü'l-Esrâr, Hüsrev ve Şîrin, Leyla ile Mecnun, Heft Peyker, İskendernâme (iki bölümdür: Şerefnâme-İkbalname). Nizâmî Hamsesi İslam kitap sanatları içinde İran şairi Firdevsî'nin (ö. 411/1020?) Şâhnâme adlı manzum eseri ile birlikte en çok resimli nüshası hazırlanan eserlerdendir ve bu bağlamda tasvir üsluplarının gelişimini izlemek bakımından sanat tarihi için önem taşımaktadır. Araştırmaya konu olan TÜYEK Beyazıt Yazma Eserler Kütüphanesi B5710 numaralı yazmanın 384a yaprağındaki ferağ kaydında Muhammed Kâtip tarafından Hic. 947/Mil. 1540 yılında istinsah edildiği bilgisi bulunurken istinsah yeri belirtilmemektedir. Y. 384b'de Sultan Abdülmecid'in (sal. 1839-61) annesi Bezmiâlem Vâlide Sultan'ın (ö. 1853) vakıf kütüphane kaydı ve vakıf mührü yer almaktadır. B5710 numaralı Hamse-i Nizâmî, 31.5 x 19.5 cm boyutlarında, 386 varaktan müteşekkildir. Metin Farsça, ta'lik hatla, genellikle her yaprakta dört sütuna on dokuz satır halinde yazılmıştır. Bazı yapraklarda sayfa düzeninde mâilen dizilen beyitlerle yapılan tasarımlar dikkati çekmektedir. Hatayi, penç, rûmî, saz yaprakları gibi motiflerle bezenmiş lake cildi orijinal değildir. Eserin başındaki eksik kısımlar vardır ve ilk beş yaprak esere sonradan eklenmiştir. Bu ilave sayfalara eksik kısımlar yazılmış; y. 1b'ye geç dönem üslubunda başlık tezhibi yapılmıştır. Muhtemelen aynı dönemde iç kapaklara Avrupa tarzında filigranlı yan kâğıtlar eklenmiştir. Eserin bezeme programında mesnevilerin bölüm başları, mesnevilerin içindeki ara başlıklar, mâilen yazılan beyitlerin araları Safevî üslubunda tezhiplenmiştir. Nüshadaki mesnevilere yirmi bir tasvir eşlik etmektedir. Ketebesinde istinsah yerine ilişkin bir bilgi bulunmamasına rağmen B5710 numaralı Hamse-i Nizâmî, tarihi itibariyle Safevî kitap sanatının kaliteli örneklerinden biridir. Tezde yürütülen üslup analizi sonucu eserdeki tezhip ve tasvirlerin Safevî dönemi Şiraz üslubunun anlayışını yansıttıkları karşılaştırmalı örneklerle saptanmıştır. Şiraz, Ortaçağ'dan itibaren bölgenin ilim ve ticaret merkezi olma özelliğini elinde tutmuş bir şehirdir. Safevî döneminde de bu önemini korumuş; özellikle kitap sanatlarında öncü olmayı sürdürmüştür. Safevî döneminde Şiraz atölyelerinde daha çok edebî ve tarihi konulu resimli el yazmaları hazırlanmış; popüler olan Firdevsî, Nizâmî, Sa'dî-i Şîrâzî (ö. 691/1292) gibi yazarların eserlerinin yanı sıra yeni konular ve yeni kompozisyonlar da denenmiştir. Şiraz atölyelerinde üretilen musavver (resimli) nüshalar, Osmanlı Devleti'nin başkenti İstanbul gibi bir çok şehirde okunmuş ve kütüphanelerdeki yerini almıştır. Tezde Safevî-Şiraz döneminde üretilen TÜYEK Beyazıt Yazma Eserler Kütüphanesi B5710 numaradaki Hamse-i Nizâmî'nin öncelikle sahibi olan Bezmiâlem Vâlide Sultan ve sanat hâmîliği konusuna değinilerek, eserin Vâlide Sultan'ın kitap koleksiyonundaki yeri üzerinde durulmuştur. Ardından eserin kendisine geçilmiş ve el yazma araştırma yöntemlerinden olan kodikolojik analiz ile fiziksel özellikleri ayrıntılı bir şekilde ele alınmıştır. Yirmi bir tasvirinin kataloğu yapılarak resim-metin ilişkisi ile ilgili bilgiler verilmiş; karşılaştırmalı inceleme metodu ile yakın tarihli benzer örnekler üzerinden kompozisyonlar üslup bağlamında değerlendirilmiştir. Nizâmî'nin eserlerine hâkim olan sembolizm konusunda daha derin bir analize gidilerek, renk ve sayı sembolizminin eserin resim programına etkisi olup olmadığı sorgulanmıştır. Eserin ketebesinde veya vakıf kaydında nüshanın İstanbul'a ve Vâlide Sultan'ın kütüphanesine nasıl intikal ettiğine dair kesin bilgi yoktur. Buna karşılık eserin mevcut durumu ve esere müdahaleler göz önüne alınarak olası yolculuğunun da bir hikâyesi yazılmaya çalışılmıştır. Bezmiâlem Vâlide Sultan'ın bugün Beyazıt Yazma Eserler Kütüphanesinde korunan kitap koleksiyonundaki yazma eserlerin kimilerinin Osmanlı sarayındaki ve Osmanlı entelektüellerinin mülkiyetindeki el yazmalarıyla yakın evsafta olması bu koleksiyonun bütüncül bir incelemesinin gerekli olduğuna işaret etmektedir. Anahtar Kelime: Nizâmî, Hamse, Bezmiâlem Vâlide Sultan, Safevî-Şiraz Üslubu, Beyazıt Kütüphanesi
Özet (Çeviri)
This thesis examines the twenty-one illustrations in the copy of the Khamsa (Five Masnavis) by Nizami Gencevi (d. 611/1214), one of Iran's greatest poets, which gave its name to a genre. The work, also known as Khamsa of Nizami, consists of five masnevis: Makhzan al-Asrar (The Treasury of Secrets), Khosrow and Shirin, Layli and Majnun, Haft Peykar (Seven Beauties), Iskandarnama (Book of Alexander in two parts: Sharafnama-Book of Glory; Iqbalnama-Book of Fortune). Nizami's Khamsa is one of the most illustrated works in Islamic book arts, along with the poetic work Shahnama by the Iranian poet Ferdowsi (d. 411/1020?). The Khamsa has had a great impact not only in terms of literature but also in terms of book arts; it has been copied and illustrated many times over the centuries. In this context, it is important for art history in terms of tracing the development of pictorial styles. Nizami Gencevi brought the tradition of the mesnevi to its peak in Eastern literature, both in terms of form and content, and pioneered the transformation of the masnevi genre into a literary form. Gencevi established the Khamsa as a literary genre and made it independent in Eastern literature, thereby contributing it to the literary canon. Nizami's masnavis deal with fundamental themes such as love, heroism, morality, nature, and society, thereby strengthening the artistic and didactic aspects of literature. The Khamsa is not only literary but also philosophical and cultural heritage. Nizami resonated across a wide geographical area, particularly in Persian, Ottoman, and Indian literature, and had a profound influence on the poets who came after him. In subsequent centuries, poets such as Emir Husrev-i Dihlevî, Ali Shir Navaî, Ahmedî, and Fuzûlî kept his literary legacy alive and wrote counterpoems. The Khamsa tradition, which began with Nizami, continued with poets from different geographical regions and gained a universal dimension. The Khamsa, written by Nizami Gencevi, consists of five independent masnevis. Nizami named these five works“Penc Genc,”meaning“five treasures.”In Makhzan al-Asrar (The Treasury of Secrets), a didactic work, he included twenty articles on religious, moral, and mystical topics, followed by stories to better explain the topics discussed in each article. Khosrow and Shirin is a poetic love story based on an event that took place between the Sassanid ruler Khosrow-i Parviz and the Armenian princess Shirin, and this work holds an important place among lyrical works in Persian literature. Layli and Majnun reimagines a love story inspired by Arabic literature according to Iranian traditions. The love scenes in the work are deeply moving and compelling. Haft Peykar (Seven Beauties) centers on the life and love stories of the Iranian king Bahram, woven around allegorical and symbolic themes. This work combines a love story with moral teachings, cosmology, Sufism, symbolism, and court culture. The Iskandarnama (Book of Alexander) consists of Sharafnama (Book of Glory), which recounts the life and battles of Alexander the Great, and the Iqbalnama (Book of Fortune), which recounts Alexander's conversations with philosophers and sages and his search for the ab-ı hayat (water of immortality). In these works, Nizami reflects not only his literary skill but also his deep intellectual knowledge of philosophical and Sufi tendencies. Khamsa of Nizami is notable both for its literary value and its influence on visual culture. The interest in Khamsa, especially in the courts of the Timurids, Turkmans, Safavids, Baburids, and Ottomans, paved the way for the preparation of illustrated copies of this work in different periods and geographical areas. Thus, Khamsa of Nizami became a rich cultural product in visual terms as well as a literary text. The main source of Khamsa of Nizami, numbered B5710, was first analyzed through digital images; then, under the supervision of a restoration expert, a physical examination was conducted at the Book Hospital in the Rami Library, and the binding, page layout, illuminations, miniatures, additions, and restorations of the copy were recorded. These analytical methods will enable a comprehensive evaluation of both the visual and physical structure of the work. The manuscript no. B5710 in the Turkish Manuscripts Institution (TÜYEK), Beyazıt Manuscript Library, which is the subject of the research, contains a colophon on page 384a stating that it was copied by Muhammad Katip in 947 AH/1540 AD, but the place of copying is not specified. On pages 1a and 384b, there is a record of the endowment library and the endowment seal of Bezmiâlem Valide Sultan (d. 1853), the mother of Sultan Abdülmecid (r. 1839-61). The physical and formal characteristics of the Khamsa of Nizami no. B5710 has been evaluated in detail using codicological analysis methods. The manuscript measures 31.5 x 19.5 cm and consists of 386 folios. The text is in Persian, written in ta'liq script, generally in four columns of nineteen lines per page. Some pages feature designs with couplets arranged horizontally, which are noteworthy. The lacquered cover, decorated with motifs such as hatayi, penç, rûmî, and saz leaves, is not original. There are missing sections at the beginning of the work, and the first four folios were added later. The missing sections were written on these additional pages; the title illumination on 1b was done in a late style. Probably during the same period, two different filigree side papers in European style were added to the inner covers. In the decoration program of the work, the section headings of the masnevis, the subheadings within the masnevis, and the spaces between the couplets written in diagonal are illuminated in the Safavid style. Twenty-one illustrations accompany the masnevis in the manuscript. The distribution of illustrations in the mesnevis varies. In Makhzan al-Asrar, there is one; in Khosrow and Shirin, there are four, in Layli and Majnun, there are three, in Haft Peykar, there are seven, in Iskandarnama, there are eight-four in each sub-section. In research conducted on Nizami's Hamse, a comprehensive source search was carried out to determine the artistic characteristics of illustrated copies of this work prepared in different periods. Using a comparative analysis method, the compositions and style of the Khamsa of Nizami were analyzed with similar examples from recent times. The search began with the TÜYEK Database and continued with the Istanbul University Rare Books Library, the Oxford Bodleian Library, the Cambridge University Library, and the Aga Khan Collection. While accessing dissertations, books, and articles prepared on the manuscript, contemporary works that could serve as sources for determining the style of illustration were also identified. Although there is no information about the place of transcription in the colophon of the Khamsa of Nizami, no. B5710 is one of the high-quality examples of Safavid book art in terms of its history. As a result of the style analysis conducted in the thesis, it has been determined with comparative examples that the illumination and illustrations in the work reflect the understanding of the Safavid period Shiraz style. Shiraz has been the center of science and trade in the region since the Middle Ages. During the Safavid period, Shiraz maintained its importance in the region both culturally and artistically; it was particularly pioneering in the art of bookmaking and played an important role in its development. The Safavid-Shiraz period stands out as a time when the most brilliant examples of Iranian artistic manuscripts were produced. During the Safavid period, Shiraz workshops produced mostly literary and historical illustrated manuscripts; in addition to the works of popular writers such as Ferdowsi, Nizami, and Sa'di Shirazi (d. 691/1292), new topics and new compositions were also explored. The illustrated manuscripts produced in the workshops of Shiraz were read in many cities, including Istanbul, the capital of the Ottoman Empire, and found their place in libraries. These works are concrete examples that contributed to the spread of cultural and artistic understanding. Bezmiâlem Valide Sultan, the“second wife”of Sultan Mahmud II and mother of Sultan Abdülmecid, was not only the wife and mother of the sultan, but also a person who possessed great charity, endowments, foundations, and a book collection. Vâlide Sultan (Queen Mother) was renowned for her charitable works and endowments in various parts of the country, including hospitals, schools, mosques, fountains, water dispensers, and bridges. As an intellectual figure in the late Ottoman Empire, Bezmiâlem Sultan valued education and built a school, beginning to collect books from various fields for its library. Bezmiâlem's library contained a distinguished collection of high-quality manuscripts and printed works, contributing to the enrichment of Ottoman libraries. The books in the library cover various fields such as religion, literature, history, geography, and language. The abundance of books on literature in Valide Sultan's collection is noteworthy. The manuscripts and printed works in question are distinguished examples of Persian, Arabic, and Turkish literature. The collection includes works by Nizami Gencevi, Ferdowsi, Molla Jami, Attar, Rumi, Hafez Shirazi, and İbrahim Hakkı of Erzurum. The books are valuable not only for their content but also for their artistic assets. The collection is made even more valuable by the illuminated and illustrated manuscripts, especially those featuring calligraphy. Among the illustrated manuscripts are Aja'ib al-Makhluqat, Hadis-i Nev, and Masnavi of Rumi. The Khamsa of Nizami no. B5710, which is part of this collection and has been determined to belong to the Safavid period, is also included. The thesis discusses the Bezmiâlem Valide Sultan, the owner of the Khamsa of Nizami no. B5710 in the TÜYEK Beyazıt Manuscript Library, which was produced during the Safavid-Shiraz period, and the subject of patronage of the arts, focusing on the place of the work in Valide Sultan's book collection. The thesis then moves on to the work itself, examining its physical characteristics in detail using codicological analysis, one of the methods of manuscript research. A catalog of the twenty-one illustrations in the work was compiled, and information about the relationship between the images and the text was provided. Compositions were evaluated in terms of style through a comparative analysis method using similar examples from the same period. Gencevî is known for his use of layered images, allegorical structures, and rich symbols in his works. Just as Nizami's symbolism is reproduced and interpreted through the art of miniature painting, revealing a rich aesthetic understanding, in the Khamsa manuscripts prepared in the Shiraz workshops, the relationship between image and text does not merely adopt a descriptive approach but takes on an interpretive and transformative function. The illustrations do not merely present a chronological or physical account of events; rather, they aim to visualize abstract ideas, spiritual symbols, and the individual's internal transformation processes. In this context, in order to understand the symbolism used in the Khamsa, a deeper analysis was conducted, particularly questioning whether color and number symbolism had an effect on the visual program of the work, and an attempt was made to reveal the layered relationship between the text and the images. There is no clear and definite information in the colophon or foundation record of the work about when and how the copy was brought to Istanbul, and how it came to be in the library of Valide Sultan. However, considering the current state of the work and the interventions made to it, an attempt has been made to write a story about its possible journey. The fact that some of the manuscripts in the book collection of Bezmiâlem Valide Sultan, which is currently preserved in the Beyazıt Manuscript Library, are similar in quality to the manuscripts in the Ottoman palace and those owned by Ottoman intellectuals indicates that a comprehensive study of this collection is necessary. Vâlide Sultan's collection is not merely a product of personal curiosity and accumulation, but also an important example that should be examined in the context of patronage.
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