İlluminated Copies of the Masnavi-i Ma‘navi Prepared for Turkmen Patrons

Mercan Hüseyni

Article Details

İlluminated Copies of the Masnavi-i Ma‘navi Prepared for Turkmen Patrons

Authors:

Mercan Hüseyni

Publisher:

Necmettin Erbakan University

Main Topics:

Tezhip | Türk İslam Sanatları (Diğer)

Journal:

İSTEM Issue 45, pp.443-474

Document Type:

Article

Publication Date:

6/2025

Document Language:

Turkish

Document ID (Org No.):

2001353652

pISSN:

1304-0618

Keywords:

Abstract:

 The Masnavi-i Manavi, which addresses all aspects of Sufism, is a six-volume Persian masterpiece by the great mystic and scholar, Mawlānā Jalāl al-Dīn Rūmī. Numerous copies of the Masnavi have survived through the centuries and can be found in manuscript libraries and private collections worldwide. Among these, the illuminated Masnavi manuscripts prepared in Anatolia and Iran are particularly noteworthy for their artistic and cultural significance. The production of illuminated Masnavi manuscripts in Iran began in the early 15th century under the patronage of Timurid princes. During the second half of the 15th century, numerous illuminated copies of this work were also produced for the Qaraqoyunlu and Aqqoyunlu Turkmen rulers. The most prominent patrons of this work were Qaraqoyunlu Prince Pir Budaq and Aqqoyunlu Prince Sultan Khalil, whose illuminated Masnavi copies were crafted by skilled artisans. Since the Masnavi served as a spiritual guide for those pursuing the Sufi path, various Sufi orders in 15th-century Iran also produced illuminated manuscripts of this work. A notable example is a Masnavi manuscript prepared at the Ishāqiyya Musalla in Shiraz, a Sufi lodge and a center of manuscript production. Furthermore, some copies of the Masnavi were transcribed by calligraphers with names such as Murshid-Murshidī and al-Ansārī, suggesting their affiliation with Sufi orders. This study lists Masnavi manuscripts produced under the patronage of the rulers and Sufi orders during the Turkmen period, while also examining the arts of the book in these manuscripts. The stylistic features of Turkmen bookbinding and illumination are distinctly visible in these works. Additionally, the evaluated Masnavi manuscripts reveal the existence of a specific production and decoration program. This program, which began during the Qaraqoyunlu period, became more widespread in the illuminated manuscripts of the Aqqoyunlu era. This illumination program represents a unique approach, distinct from those developed in the 14th-century Anatolian Masnavi manuscripts.

 The Masnavi-i Manavi, which addresses all aspects of Sufism, is a six-volume Persian masterpiece by the great mystic and scholar, Mawlānā Jalāl al-Dīn Rūmī. Numerous copies of the Masnavi have survived through the centuries and can be found in manuscript libraries and private collections worldwide. Among these, the illuminated Masnavi manuscripts prepared in Anatolia and Iran are particularly noteworthy for their artistic and cultural significance. The production of illuminated Masnavi manuscripts in Iran began in the early 15th century under the patronage of Timurid princes. During the second half of the 15th century, numerous illuminated copies of this work were also produced for the Qaraqoyunlu and Aqqoyunlu Turkmen rulers. The most prominent patrons of this work were Qaraqoyunlu Prince Pir Budaq and Aqqoyunlu Prince Sultan Khalil, whose illuminated Masnavi copies were crafted by skilled artisans. Since the Masnavi served as a spiritual guide for those pursuing the Sufi path, various Sufi orders in 15th-century Iran also produced illuminated manuscripts of this work. A notable example is a Masnavi manuscript prepared at the Ishāqiyya Musalla in Shiraz, a Sufi lodge and a center of manuscript production. Furthermore, some copies of the Masnavi were transcribed by calligraphers with names such as Murshid-Murshidī and al-Ansārī, suggesting their affiliation with Sufi orders. This study lists Masnavi manuscripts produced under the patronage of the rulers and Sufi orders during the Turkmen period, while also examining the arts of the book in these manuscripts. The stylistic features of Turkmen bookbinding and illumination are distinctly visible in these works. Additionally, the evaluated Masnavi manuscripts reveal the existence of a specific production and decoration program. This program, which began during the Qaraqoyunlu period, became more widespread in the illuminated manuscripts of the Aqqoyunlu era. This illumination program represents a unique approach, distinct from those developed in the 14th-century Anatolian Masnavi manuscripts.

 The Masnavi-i Manavi, which addresses all aspects of Sufism, is a six-volume Persian masterpiece by the great mystic and scholar, Mawlānā Jalāl al-Dīn Rūmī. Numerous copies of the Masnavi have survived through the centuries and can be found in manuscript libraries and private collections worldwide. Among these, the illuminated Masnavi manuscripts prepared in Anatolia and Iran are particularly noteworthy for their artistic and cultural significance. The production of illuminated Masnavi manuscripts in Iran began in the early 15th century under the patronage of Timurid princes. During the second half of the 15th century, numerous illuminated copies of this work were also produced for the Qaraqoyunlu and Aqqoyunlu Turkmen rulers. The most prominent patrons of this work were Qaraqoyunlu Prince Pir Budaq and Aqqoyunlu Prince Sultan Khalil, whose illuminated Masnavi copies were crafted by skilled artisans. Since the Masnavi served as a spiritual guide for those pursuing the Sufi path, various Sufi orders in 15th-century Iran also produced illuminated manuscripts of this work. A notable example is a Masnavi manuscript prepared at the Ishāqiyya Musalla in Shiraz, a Sufi lodge and a center of manuscript production. Furthermore, some copies of the Masnavi were transcribed by calligraphers with names such as Murshid-Murshidī and al-Ansārī, suggesting their affiliation with Sufi orders. This study lists Masnavi manuscripts produced under the patronage of the rulers and Sufi orders during the Turkmen period, while also examining the arts of the book in these manuscripts. The stylistic features of Turkmen bookbinding and illumination are distinctly visible in these works. Additionally, the evaluated Masnavi manuscripts reveal the existence of a specific production and decoration program. This program, which began during the Qaraqoyunlu period, became more widespread in the illuminated manuscripts of the Aqqoyunlu era. This illumination program represents a unique approach, distinct from those developed in the 14th-century Anatolian Masnavi manuscripts.

 Tasavvufun tüm konularını ele alan Mesnevî-i Manevî, büyük şair ve sufi Mevlânâ Celâleddîn-i Rûmînin altı ciltten defterden oluşan Farsça eseridir. Geçmiş asırlardan günümüze ulaşan çok sayıda Mesnevî nüshası, dünyanın dört bir yanındaki yazma eser kütüphanelerinde ve özel koleksiyonlarda bulunmaktadır. Bu eserler arasında özellikle Anadolu ve İran coğrafyasında hazırlanmış sanatlı Mesnevî nüshalarının varlığı dikkat çekicidir. İran coğrafyasında sanatlı Mesnevî nüshalarının hazırlanışı, 15. yüzyıl başlarında Timurlu sanatsever şehzadeleri tarafından başlatılmıştır. 15. yüzyılın ikinci yarısında ise Karakoyunlu ve Akkoyunlu Türkmen hamileri için çok sayıda sanatlı Mesnevî nüshası hazırlanmıştır. Türkmen sanat hamileri arasında Karakoyunlu şehzadesi Pir Budak ile Akkoyunlu şehzadesi Sultan Halil, bu sanatlı nüshaların öne çıkan destekçileri olmuştur. Tasavvuf yolunda ilerleyenler için bir rehber niteliği taşıyan bu eserin, 15. yüzyıl İran coğrafyasındaki çeşitli tarikat mensupları tarafından da sanatlı yazmaları hazırlanmıştır. İshâkiyye tarikatının bir dergâhı ve aynı zamanda kitap üretim merkezi olan Şirazdaki İshâkiyye Müsâlasında hazırlanmış bir Mesnevî yazması, bu bağlamda önemli bir örnektir. Ayrıca, bazı Mesnevî el yazmalarının Mürşid-Mürşidî ve el-Ensârî gibi tasavvufî çağrışımları olan hattatlar tarafından istinsah edilmesi, bu nüshaların tarikatlarla bağlantılı olduğunu göstermektedir. Bu makalede, Türkmen döneminde hükümdarların ve tarikatların himayesinde üretilmiş Mesnevî yazmaları listelenmiş ve bu yazmaların cilt, hat ve tezhip üslupları incelenmiştir. Türkmen dönemi yazmalarının cilt ve tezhip tasarımlarında belirgin üslup özellikleri dikkati çekmektedir. Ayrıca, değerlendirilen Mesnevî nüshalarında belli bir üretim ve süsleme programının varlığı da tespit edilmiştir. Karakoyunlu döneminde başlayan bu program, Akkoyunlu döneminin sanatlı yazmalarında daha yaygın hale gelmiştir. Bu tezhip programı, 14. yüzyıl Anadolu topraklarında hazırlanan Mesnevî yazmalarındaki tezhip programından farklı ve özgün bir anlayışa sahiptir.

Article Details

İlluminated Copies of the Masnavi-i Ma‘navi Prepared for Turkmen Patrons

Authors:

Mercan Hüseyni

Publisher:

Necmettin Erbakan University

Main Topics:

Tezhip | Türk İslam Sanatları (Diğer)

Journal:

İSTEM Issue 45, pp.443-474

Document Type:

Article

Publication Date:

6/2025

Document Language:

Turkish

Document ID (Org No.):

2001353652

pISSN:

1304-0618

Mawlānā Jalāl al-Dīn Rūmī

Masnavi

Qaraqoyunlu Turkmens

Aqqoyunlu Turkmens

Arts of the BookMevlânâ Celâleddîn-i Rûmî

Mesnevî-i Manevî

Karakoyunlu Türkmenleri

Akkoyunlu Türkmenleri

Kitap Sanatları

Issues

Article Details

Authors: Mercan Hüseyni

Publisher: Necmettin Erbakan University

Main Topics: Tezhip | Türk İslam Sanatları (Diğer)

Journal: İSTEM Issue 45, pp.443-474

Document Type: Article

Publication Date: 6/2025

Document Language: Turkish

Document ID (Org No.): 2001353652

pISSN: 1304-0618

Issues

Authors:

Mercan Hüseyni

Publisher:

Necmettin Erbakan University

Main Topics:

Tezhip | Türk İslam Sanatları (Diğer)

Journal:

İSTEM Issue 45, pp.443-474

Document Type:

Article

Publication Date:

6/2025

Document Language:

Turkish

Document ID (Org No.):

2001353652

pISSN:

1304-0618