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Perhaps Yusuf bin Abdul Latif (Subhat al-Akhbar) listed the genealogies of Ottoman figures
(ربما يوسف بن عبد اللطيف سبحة الأخبار سرد أنساب شخصيات عثمانية)

Title	Perhaps Yusuf bin Abdul Latif (Subhat al-Akhbar) listed the genealogies of Ottoman figures
Title Original	ربما يوسف بن عبد اللطيف سبحة الأخبار سرد أنساب شخصيات عثمانية
Author	Hussein Al-Istanbouli
Author Original	حسين الاسطنبولي
Publication Date:	Around the year 1094 AH / 1683 AD
Publication Place	Istanbul - Austrian National Library (ANL)
Subject	Ink, colors and gold on Venetian paper. Layout in Turkish nascent script, 19 lines per page
Type	Other
Language	Undetermined
Digital	Yes
Manuscript	Yes
Physical Dimensions	300 × 185 مم (120 مم/255 ×150 مم) ، 17 صفحة
Library:	Museum With No Frontiers
Library Asset ID	A.F. 50
Record ID	object;EPM;at;Mus24;20;ar
Library Location	Austrian National Library (ANL)
Date	Around the year 1094 AH / 1683 AD
Notes	The sumptuous genealogical tree or book of silsilah called Sohbat al-Akhyar was probably written around 1094 AH/1683 AD by Yusuf ibn Abd al-Latif (d. 1545), a court genealogist (genealogist) during the reign of Suleiman the Magnificent in Istanbul. Since the historical information in the text dates back to 1678, the manuscript itself must have been copied shortly after this period, before the deposition and death of Kara Mustafa Pasha, which took place at the end of 1683. The text later became part of the library of Prince Eugene of Savoy in 1716 and was eventually acquired by the Austrian National Library in 1727. The family trees and their schematic representation in the form of circular medallions are thus linked. It is also classified as silsilah, which has been an ancient tradition in Islam since the beginning of the fourteenth century. But the literary form of such genealogical studies refers to ancestors during the reign of Suleiman the Magnificent in the sixteenth century. Beginning with Adam and Eve, these manuscripts continue the lineage from the great messenger prophets and legendary rulers of Iran to the distinct dynastic families of Arab, Mongol, Persian, and Turkish dynasties, and ending with the contemporary rulers of the Ottoman Empire. These types of genealogical trees were often laid out in scrolls, which were even placed in book form within this manuscript in connecting lines extending downwards in a vertical manner. These family trees are of great cultural and artistic historical importance, as a large number of them are extant and reveal A multi-faceted artistic source of material that even follows the European approach. Its political purpose is also to legitimize the Ottomans and also to visually evaluate specific ancestral figures. Since these family trees date back to pagan or religious times, the names of the saints become part of the dynastic claim, legitimacy, and historical proof. From page 4b onwards, the genealogical trees are depicted vertically, which include cursive or drawn medallions of various sizes. Connected by red and blue lines. It is possible that the circular-shaped drawings were derived from ancient medieval coins and medals / badges that depict the image of the ruler. These drawings, numbering 102 throughout the text, are accompanied by the names of people in red font, and also displayed in a diagonal or top-to-bottom manner, blocks of text that are usually a brief account of the person’s life, and inscriptions in smaller black font are added around them. The background is filled with golden flowering vine bush designs. According to the signature on the last drawing, it was drawn up by the painter Hussein Al-Istanbouli, and it is executed with a special high quality, using rich colors and accurately modeling. Gold and silver are widely used, and the hierarchical difference results from the use of the background to depict the saints, while the ruling figures are placed within a different set of posing context. Depictions of the Ottoman sultans follow a pattern developed since the 16th century and are believed to have become so widespread that people familiar with history can recognize the rulers by their most distinctive facial features, hairstyle, clothing and details. A less impressive manuscript of the same type in Ankara (Vakıflar Genel Müdürlüğü manuscript K-4) was copied in the same workshop and gilded by the same painter, where there is also a signature dated 1094 AH/1683 AD. The style dating back to the Ottoman court is characterized by a mixture of European and Ottoman artistic traditions, with realistic details, cosmetic patterns, cubic perspective shapes and horror vacui, and contrasts with bright multi-colors and two-dimensional decorative formations.
Sample Text	Theresa Zischkin “Maybe Yusuf ibn Abd al-Latif (Subhat al-Akhbar) Genealogies of Ottoman Figures” in Explore Islamic Art Collections. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;EPM;at;Mus24;20;ar
Cilt	The dark brown Morocco leather binding shows a large, stamped medallion in oval shape with two pendants. Along the edges of the cover is a gold interlace band. The binding dates to the last quarter of the 17th century and was likely made in Istanbul, yet it was partially restored at a later point.
Bu sayfanın künyesi	Prepared by:Theresa ZISCHKIN
Seçili bibliyografya	Duda, Dorothea,Islamische Handschriften II/2. Persische Handschriften, Die illuminierten Handschriften und Inkunabeln der Österreichischen Nationalbibliothek, vol. 5/2, Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2008: 27-41.

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Perhaps Yusuf bin Abdul Latif (Subhat al-Akhbar) listed the genealogies of Ottoman figures

(ربما يوسف بن عبد اللطيف سبحة الأخبار سرد أنساب شخصيات عثمانية)

Author Hussein Al-Istanbouli

Author Original حسين الاسطنبولي

Publication Date Around the year 1094 AH / 1683 AD

Publication Place Istanbul - Austrian National Library (ANL)

Subject Ink, colors and gold on Venetian paper. Layout in Turkish nascent script, 19 lines per page

Type Other

Language Undetermined

Digital Yes

Manuscript Yes

Physical Dimensions 300 × 185 مم (120 مم/255 ×150 مم) ، 17 صفحة

Library Museum With No Frontiers

Library Asset ID A.F. 50

Record ID object;EPM;at;Mus24;20;ar

Library Location Austrian National Library (ANL)

Date Around the year 1094 AH / 1683 AD

Notes The sumptuous genealogical tree or book of silsilah called Sohbat al-Akhyar was probably written around 1094 AH/1683 AD by Yusuf ibn Abd al-Latif (d. 1545), a court genealogist (genealogist) during the reign of Suleiman the Magnificent in Istanbul. Since the historical information in the text dates back to 1678, the manuscript itself must have been copied shortly after this period, before the deposition and death of Kara Mustafa Pasha, which took place at the end of 1683. The text later became part of the library of Prince Eugene of Savoy in 1716 and was eventually acquired by the Austrian National Library in 1727. The family trees and their schematic representation in the form of circular medallions are thus linked. It is also classified as silsilah, which has been an ancient tradition in Islam since the beginning of the fourteenth century. But the literary form of such genealogical studies refers to ancestors during the reign of Suleiman the Magnificent in the sixteenth century. Beginning with Adam and Eve, these manuscripts continue the lineage from the great messenger prophets and legendary rulers of Iran to the distinct dynastic families of Arab, Mongol, Persian, and Turkish dynasties, and ending with the contemporary rulers of the Ottoman Empire. These types of genealogical trees were often laid out in scrolls, which were even placed in book form within this manuscript in connecting lines extending downwards in a vertical manner. These family trees are of great cultural and artistic historical importance, as a large number of them are extant and reveal A multi-faceted artistic source of material that even follows the European approach. Its political purpose is also to legitimize the Ottomans and also to visually evaluate specific ancestral figures. Since these family trees date back to pagan or religious times, the names of the saints become part of the dynastic claim, legitimacy, and historical proof. From page 4b onwards, the genealogical trees are depicted vertically, which include cursive or drawn medallions of various sizes. Connected by red and blue lines. It is possible that the circular-shaped drawings were derived from ancient medieval coins and medals / badges that depict the image of the ruler. These drawings, numbering 102 throughout the text, are accompanied by the names of people in red font, and also displayed in a diagonal or top-to-bottom manner, blocks of text that are usually a brief account of the person’s life, and inscriptions in smaller black font are added around them. The background is filled with golden flowering vine bush designs. According to the signature on the last drawing, it was drawn up by the painter Hussein Al-Istanbouli, and it is executed with a special high quality, using rich colors and accurately modeling. Gold and silver are widely used, and the hierarchical difference results from the use of the background to depict the saints, while the ruling figures are placed within a different set of posing context. Depictions of the Ottoman sultans follow a pattern developed since the 16th century and are believed to have become so widespread that people familiar with history can recognize the rulers by their most distinctive facial features, hairstyle, clothing and details. A less impressive manuscript of the same type in Ankara (Vakıflar Genel Müdürlüğü manuscript K-4) was copied in the same workshop and gilded by the same painter, where there is also a signature dated 1094 AH/1683 AD. The style dating back to the Ottoman court is characterized by a mixture of European and Ottoman artistic traditions, with realistic details, cosmetic patterns, cubic perspective shapes and horror vacui, and contrasts with bright multi-colors and two-dimensional decorative formations.

Sample Text Theresa Zischkin “Maybe Yusuf ibn Abd al-Latif (Subhat al-Akhbar) Genealogies of Ottoman Figures” in Explore Islamic Art Collections. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;EPM;at;Mus24;20;ar

Cilt The dark brown Morocco leather binding shows a large, stamped medallion in oval shape with two pendants. Along the edges of the cover is a gold interlace band. The binding dates to the last quarter of the 17th century and was likely made in Istanbul, yet it was partially restored at a later point.

Bu sayfanın künyesi Prepared by:Theresa ZISCHKIN

Seçili bibliyografya Duda, Dorothea,Islamische Handschriften II/2. Persische Handschriften, Die illuminierten Handschriften und Inkunabeln der Österreichischen Nationalbibliothek, vol. 5/2, Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2008: 27-41.