Evaluation on the Sixteenth Century Shiraz Illumination Style

Ayşe Zehra Sayın

Article Details

Evaluation on the Sixteenth Century Shiraz Illumination Style

Authors:

Ayşe Zehra Sayın

Publisher:

Ege University

Main Topics:

İslam Sanatları | Sanat Tarihi

Journal:

Sanat Tarihi Dergisi Vol.33 Issue 2, pp.655-677

Document Type:

Article

Publication Date:

12/2024

Document Language:

Turkish

Document ID (Org No.):

2001337661

pISSN:

1300-5707

Keywords:

Abstract:

 Shiraz has long been a pivotal settlement along the historical trade route within the administrative boundaries of Fars. Historical records indicate its emergence as a prominent hub of artistic creation during the era of the Injuids, where a plethora of manuscripts were meticulously crafted. With the support of Turkmen rulers, Shiraz fell under the governance of the Safavids in 1503, overseen by Turkmen governors. This period witnessed a flourishing commercial activity in Shiraz, fostering the production of diverse manuscripts encompassing calligraphy, illumination, miniature painting, and bookbinding. In the scope of our study, we have endeavored to explore the illumination style prevalent in Shiraz during the specified century, drawing insights from selected artworks either originating from or attributed to the city. To facilitate a nuanced understanding of the illumination practices of the era, illuminated pages zahriye the illumination on the back of the first page of a book, serlevha symmetrical double-page illumination, the unvan headings illumination, and the hâtime epilogues illumination have been scrutinized and evaluated under distinct categories. Additionally, further elements such as cedvel-iç pervaz frames with inner decoration, motifs, tığ a light ornament in the outer space of the manuscripts, and color palettes utilized in illuminated sections have been meticulously examined as subcategories. Through this investigation, we not only aim to delineate the distinctive characteristics of illumination during the specified century but also to trace the evolution of illumination styles in the region over time, substantiated with illustrative examples. It is observed that in the majority of literary works produced in the Shiraz region, the zahriye illumination is not present. However, zahriye illumination is found in copies of the Quran. The facing double-page zahriye illuminations are designed as medallion and full-page illuminations. The layout of the serlevha illumination is found not only on the first page where the text begins but also in the middle section of the Quran corresponding to Surah Al-Kahf as seen in Shiraz manuscripts, in the supplication for completion of the Quran, and in the pages of a falnâme fortune telling. The serlevha illumination comprises the inner area, interior border, and exterior border sections. In the inner area layout, besides the conventional division of the texts surroundings into horizontal and vertical segments, it is observed to be adorned with geometric and floral motifs. While the hatime illumination found at the end of manuscripts was modestly applied in literary works, in Quranic manuscripts, it is observed in both modest forms and elaborate full-page or marginal embellished designs. Through conducted examinations and research, it has been determined that during the first half of the century, a simple style influenced by Turkmen aesthetics prevailed in illuminations, while from the second half of the century onwards, there was a preference for more intricate designs and vibrant color schemes in terms of composition, motifs, and colors. The Turkmen-era illumination style persisted until the mid-century, with the emergence of the Safavid Shiraz style beginning in the 1520s through new artistic endeavors. This evolving style notably made its mark, particularly in the latter half of the century. Notable features of the second half of the century include an increase in the dimensions of Shiraz manuscripts, a rise in the number of illuminated pages, an expansion in color choices, and the use of precious pigments.

 Shiraz has long been a pivotal settlement along the historical trade route within the administrative boundaries of Fars. Historical records indicate its emergence as a prominent hub of artistic creation during the era of the Injuids, where a plethora of manuscripts were meticulously crafted. With the support of Turkmen rulers, Shiraz fell under the governance of the Safavids in 1503, overseen by Turkmen governors. This period witnessed a flourishing commercial activity in Shiraz, fostering the production of diverse manuscripts encompassing calligraphy, illumination, miniature painting, and bookbinding. In the scope of our study, we have endeavored to explore the illumination style prevalent in Shiraz during the specified century, drawing insights from selected artworks either originating from or attributed to the city. To facilitate a nuanced understanding of the illumination practices of the era, illuminated pages zahriye the illumination on the back of the first page of a book, serlevha symmetrical double-page illumination, the unvan headings illumination, and the hâtime epilogues illumination have been scrutinized and evaluated under distinct categories. Additionally, further elements such as cedvel-iç pervaz frames with inner decoration, motifs, tığ a light ornament in the outer space of the manuscripts, and color palettes utilized in illuminated sections have been meticulously examined as subcategories. Through this investigation, we not only aim to delineate the distinctive characteristics of illumination during the specified century but also to trace the evolution of illumination styles in the region over time, substantiated with illustrative examples. It is observed that in the majority of literary works produced in the Shiraz region, the zahriye illumination is not present. However, zahriye illumination is found in copies of the Quran. The facing double-page zahriye illuminations are designed as medallion and full-page illuminations. The layout of the serlevha illumination is found not only on the first page where the text begins but also in the middle section of the Quran corresponding to Surah Al-Kahf as seen in Shiraz manuscripts, in the supplication for completion of the Quran, and in the pages of a falnâme fortune telling. The serlevha illumination comprises the inner area, interior border, and exterior border sections. In the inner area layout, besides the conventional division of the texts surroundings into horizontal and vertical segments, it is observed to be adorned with geometric and floral motifs. While the hatime illumination found at the end of manuscripts was modestly applied in literary works, in Quranic manuscripts, it is observed in both modest forms and elaborate full-page or marginal embellished designs. Through conducted examinations and research, it has been determined that during the first half of the century, a simple style influenced by Turkmen aesthetics prevailed in illuminations, while from the second half of the century onwards, there was a preference for more intricate designs and vibrant color schemes in terms of composition, motifs, and colors. The Turkmen-era illumination style persisted until the mid-century, with the emergence of the Safavid Shiraz style beginning in the 1520s through new artistic endeavors. This evolving style notably made its mark, particularly in the latter half of the century. Notable features of the second half of the century include an increase in the dimensions of Shiraz manuscripts, a rise in the number of illuminated pages, an expansion in color choices, and the use of precious pigments.

 Shiraz has long been a pivotal settlement along the historical trade route within the administrative boundaries of Fars. Historical records indicate its emergence as a prominent hub of artistic creation during the era of the Injuids, where a plethora of manuscripts were meticulously crafted. With the support of Turkmen rulers, Shiraz fell under the governance of the Safavids in 1503, overseen by Turkmen governors. This period witnessed a flourishing commercial activity in Shiraz, fostering the production of diverse manuscripts encompassing calligraphy, illumination, miniature painting, and bookbinding. In the scope of our study, we have endeavored to explore the illumination style prevalent in Shiraz during the specified century, drawing insights from selected artworks either originating from or attributed to the city. To facilitate a nuanced understanding of the illumination practices of the era, illuminated pages zahriye the illumination on the back of the first page of a book, serlevha symmetrical double-page illumination, the unvan headings illumination, and the hâtime epilogues illumination have been scrutinized and evaluated under distinct categories. Additionally, further elements such as cedvel-iç pervaz frames with inner decoration, motifs, tığ a light ornament in the outer space of the manuscripts, and color palettes utilized in illuminated sections have been meticulously examined as subcategories. Through this investigation, we not only aim to delineate the distinctive characteristics of illumination during the specified century but also to trace the evolution of illumination styles in the region over time, substantiated with illustrative examples. It is observed that in the majority of literary works produced in the Shiraz region, the zahriye illumination is not present. However, zahriye illumination is found in copies of the Quran. The facing double-page zahriye illuminations are designed as medallion and full-page illuminations. The layout of the serlevha illumination is found not only on the first page where the text begins but also in the middle section of the Quran corresponding to Surah Al-Kahf as seen in Shiraz manuscripts, in the supplication for completion of the Quran, and in the pages of a falnâme fortune telling. The serlevha illumination comprises the inner area, interior border, and exterior border sections. In the inner area layout, besides the conventional division of the texts surroundings into horizontal and vertical segments, it is observed to be adorned with geometric and floral motifs. While the hatime illumination found at the end of manuscripts was modestly applied in literary works, in Quranic manuscripts, it is observed in both modest forms and elaborate full-page or marginal embellished designs. Through conducted examinations and research, it has been determined that during the first half of the century, a simple style influenced by Turkmen aesthetics prevailed in illuminations, while from the second half of the century onwards, there was a preference for more intricate designs and vibrant color schemes in terms of composition, motifs, and colors. The Turkmen-era illumination style persisted until the mid-century, with the emergence of the Safavid Shiraz style beginning in the 1520s through new artistic endeavors. This evolving style notably made its mark, particularly in the latter half of the century. Notable features of the second half of the century include an increase in the dimensions of Shiraz manuscripts, a rise in the number of illuminated pages, an expansion in color choices, and the use of precious pigments.

 Fars idari bölgesindeki tarihî ticaret yolu üzerindeki konumuyla önemli bir yerleşim yeri olan Şiraz, elimize ulaşan kaynaklardan İncûlular Döneminden itibaren çok sayıda yazmanın üretildiği önemli bir sanat merkezi olmuştur. Türkmenlerin himayesindeki şehir, 1503 yılında Safevilerin eline geçerek Türkmen valiler tarafından yönetilmiştir. Bu dönemde bölgede çok sayıda tezhipli eserler hazırlanmıştır. Çalışmamız kapsamında seçmiş olduğumuz Şirazda üretilmiş veya Şirazda üretildiği tahmin edilen eserler ışığında söz konusu yüzyıl içerisinde bölgede uygulanan tezhip üslûbu ortaya konmaya çalışılmıştır. Dönemin tezhip üslûbunun daha iyi kavranabilmesi adına tezhipli sayfalar zahriye, serlevha, unvan, hâtime başlıklar hâlinde incelenmiş ve değerlendirilmiştir. Ayrıca tezhipli alanlarda kullanılan cedvel-iç pervaz, motif, tığ ve renk özellikleri de detaylı bir şekilde ele alınmıştır. Çalışma kapsamında incelenen tezhipler sonucunda söz konusu yüzyılın tezhip özelliklerinin belirtilmesinin yanı sıra yüzyıl boyunca bölgede değişen tezhip üslûbu da tespit edilmiş ve örnekleriyle açıklanmıştır. Gerçekleştirilen inceleme ve araştırmalar sonucunda yüzyılın ilk yarısı tezhiplerinde Türkmen etkisiyle sade bir üslûbun uygulandığı, yüzyılın ikinci yarısından itibaren ise kompozisyon, motif ve renk özellikleri itibariyle daha yoğun tasarım ve renkli bir uygulama tercih edildiği tespit edilmiştir.

Article Details

Evaluation on the Sixteenth Century Shiraz Illumination Style

Authors:

Ayşe Zehra Sayın

Publisher:

Ege University

Main Topics:

İslam Sanatları | Sanat Tarihi

Journal:

Sanat Tarihi Dergisi Vol.33 Issue 2, pp.655-677

Document Type:

Article

Publication Date:

12/2024

Document Language:

Turkish

Document ID (Org No.):

2001337661

pISSN:

1300-5707

Sixteenth Century

Shiraz

Illumination

Decoration

Shiraz SchoolOn Altıncı Yüzyıl

Şiraz

Tezhip

Tezyinat

Üslûp

Issues

Article Details

Authors: Ayşe Zehra Sayın

Publisher: Ege University

Main Topics: İslam Sanatları | Sanat Tarihi

Journal: Sanat Tarihi Dergisi Vol.33 Issue 2, pp.655-677

Document Type: Article

Publication Date: 12/2024

Document Language: Turkish

Document ID (Org No.): 2001337661

pISSN: 1300-5707

Issues

Authors:

Ayşe Zehra Sayın

Publisher:

Ege University

Main Topics:

İslam Sanatları | Sanat Tarihi

Journal:

Sanat Tarihi Dergisi Vol.33 Issue 2, pp.655-677

Document Type:

Article

Publication Date:

12/2024

Document Language:

Turkish

Document ID (Org No.):

2001337661

pISSN:

1300-5707