Zubdat al-Tawarikh(‘Cream of Histories’).

Name: Zubdat al-Tawarikh(‘Cream of Histories’).
Author: Calligrapher: Sayyid Loqman Aşuri; painters: al-Sayyid Lutfi, Molla Kasım (Mulla Qasim) and Ustad Osman and their workshop.

İsim	Zubdat al-Tawarikh(‘Cream of Histories’).
Yazar	Calligrapher: Sayyid Loqman Aşuri; painters: al-Sayyid Lutfi, Molla Kasım (Mulla Qasim) and Ustad Osman and their workshop.
Basım Tarihi:	Hegira 993 / AD 1583.
Basım Yeri	Istanbul, Turkey. -
Konu	Ottoman — Delicate finished (aharlı) paper, ink, watercolour, gilding, the binding lacquered (Edirnekari technique).
Tür	Kitap
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Evet
Fiziksel Boyutlar	Height 64.7 cm, width 41.3 cm.
Kütüphane:	Museum With No Frontiers
Demirbaş Numarası	1973.
Kayıt Numarası	ISL_tr_Mus01_35
Lokasyon	Museum of Turkish and Islamic Arts.
Tarih	Hegira 993 / AD 1583.
Notlar	The work is written in Turkish with largenaskhiscript in black ink on 90 leaves of delicate finished (aharlı) paper. Within are 55 miniatures depicting subjects in the text, some of them one to a page and some two. On pages 1b–2a two round medallions carry an inscription stating the work's subject and saying that it was prepared for the Treasury ofSultanMurad III (r. AH 982–1003 / AD 1574–95). The text is written 37 lines to a page; the titles and chapter headings are gilded. Their illumination features floral compositions with arabesques (rumi) and Chinese-inspired motifs (hatayi-style), while that of the first two pages' medallions includes large floral motifs (halkar-style).The work's dark-green cover is lacquered using a technique known asEdirnekari. The outer covers are richly decorated with gold and silver in floral compositions, while the inner covers feature medallions, pendants and corner-pieces. The binding is not original.The work, which was written by the court panegyrist (Şehnameci)SayyidLoqman Aşuri, consists of two main sections. The first begins with the universe and the signs of the zodiac and continues with stories taken from the Torah, the New Testament, and the Qur'an which tell of the lives of prophets and those who rendered service to the faith. These are illustrated with paintings. The first part ends with genealogical trees of the Prophet Muhammad, the Four OrthodoxCaliphs, and thesultansand high officials of Muslim dynasties such as the Umayyads, the 'Abbasids, the early Islamic period, the Ghaznawids, the Ilkhanids, the Seljuqs and the Timurids. The second part opens withSultanOsman, the founder of the Ottoman dynasty, and goes up toSultanMurad III, with 12 portraits of Ottomansultans. It ends with descriptions of the political events of thesesultans' reigns.This work was made for the Treasury ofSultanMurad III, and the quality of its paintings, its binding and itscalligraphymake it one of the greatest works of Ottoman art created for asultan.
Örnek Metin	This manuscript includes stories of the prophets, the birth of Islam and histories of Muslim states. It was written on the order ofSultanMurad III by the historianSayyidLokman and illuminated by famousnaqqash(painters) Molla Kasım and Ustad Osman. It is a unique work of Ottoman art. — Transferred to the Museum in 1915 from the Library of the complex in Aksaray (Istanbul) founded by the wife of Sultan Mahmud II and mother of Sultan Abdülaziz ('Abd al-'Aziz) I, Pertevniyal Valide Sultan (d. 1300 / 1883; queen mother from 1277–92 / AD 1861–76). — It is stated on the work that it was prepared for the Treasury of Sultan Murad III (r. 982–1003 / 1574–95) in 993 (1583). — The work was almost certainly written in Istanbul by order of the Sultan.
Bu sayfanın künyesi	Prepared by:Sevgi KUTLUAYSevgi Kutluay is the Head of the Calligraphy and Manuscripts Section at the Museum of Turkish and Islamic Arts in Istanbul. She graduated from the Department of Archaeology and Art History at Hacettepe University, Ankara, in 1985 with the thesis “The Complexes of Kayseri Huand Hatun and Afşin Eshab-ı Kehf and the Development of Complexes in the Anatolian Seljuq Period”. She completed her Master's at the same department with a thesis entitled “Divriği Great Mosque and Its Decorative Programme” in 1989. She started working at the Ministry of Culture and Tourism in 1988 and has worked as an expert at various museums and departments of the ministry. She quit her Ph.D. entitled “The Diwan of Hüseyin Baykara and the 15th Century Manuscripts of Herat”. She participated in restoration projects on the wall paintings of Göreme Dark Church and Sumela Monastery in Trabzon and in the display designs of various museums.
Seçili bibliyografya	Aksoy, Ş., “Zübdetü't Tevarih, Sultan III. Murad için Hazırlanan bir Şehname”, P.Art, Culture, Antique, 3, 1996, pp.17–37.ölçer, N.et al,In Pursuit of Excellence: The Museum of Turkish and Islamic Arts, Istanbul, 1993, p.42, pl. 19A–E; pp.52–6.ölçer, N.et al,Museum of Turkish and Islamic Art, Istanbul, 2002, pp.272–5.Renda, G., “New Light on the Painters of the Zubdat at Tawarikh in the Museum of Turkish and Islamic Arts in Istanbul”,Fourth International Congress of Turkish Art,University of Provence, 1976, pp.183–207.

Kaynağa git Museum With No Frontiers

Aramaya Dön

Museum With No Frontiers

Kaynağa git

Zubdat al-Tawarikh(‘Cream of Histories’).

Yazar Calligrapher: Sayyid Loqman Aşuri; painters: al-Sayyid Lutfi, Molla Kasım (Mulla Qasim) and Ustad Osman and their workshop.

Basım Tarihi Hegira 993 / AD 1583.

Basım Yeri Istanbul, Turkey. -

Konu Ottoman — Delicate finished (aharlı) paper, ink, watercolour, gilding, the binding lacquered (Edirnekari technique).

Tür Kitap

Dil Belirlenmemiş dil

Dijital Evet

Yazma Evet

Fiziksel Boyutlar Height 64.7 cm, width 41.3 cm.

Kütüphane Museum With No Frontiers

Demirbaş Numarası 1973.

Kayıt Numarası ISL_tr_Mus01_35

Lokasyon Museum of Turkish and Islamic Arts.

Tarih Hegira 993 / AD 1583.

Notlar The work is written in Turkish with largenaskhiscript in black ink on 90 leaves of delicate finished (aharlı) paper. Within are 55 miniatures depicting subjects in the text, some of them one to a page and some two. On pages 1b–2a two round medallions carry an inscription stating the work's subject and saying that it was prepared for the Treasury ofSultanMurad III (r. AH 982–1003 / AD 1574–95). The text is written 37 lines to a page; the titles and chapter headings are gilded. Their illumination features floral compositions with arabesques (rumi) and Chinese-inspired motifs (hatayi-style), while that of the first two pages' medallions includes large floral motifs (halkar-style).The work's dark-green cover is lacquered using a technique known asEdirnekari. The outer covers are richly decorated with gold and silver in floral compositions, while the inner covers feature medallions, pendants and corner-pieces. The binding is not original.The work, which was written by the court panegyrist (Şehnameci)SayyidLoqman Aşuri, consists of two main sections. The first begins with the universe and the signs of the zodiac and continues with stories taken from the Torah, the New Testament, and the Qur'an which tell of the lives of prophets and those who rendered service to the faith. These are illustrated with paintings. The first part ends with genealogical trees of the Prophet Muhammad, the Four OrthodoxCaliphs, and thesultansand high officials of Muslim dynasties such as the Umayyads, the 'Abbasids, the early Islamic period, the Ghaznawids, the Ilkhanids, the Seljuqs and the Timurids. The second part opens withSultanOsman, the founder of the Ottoman dynasty, and goes up toSultanMurad III, with 12 portraits of Ottomansultans. It ends with descriptions of the political events of thesesultans' reigns.This work was made for the Treasury ofSultanMurad III, and the quality of its paintings, its binding and itscalligraphymake it one of the greatest works of Ottoman art created for asultan.

Örnek Metin This manuscript includes stories of the prophets, the birth of Islam and histories of Muslim states. It was written on the order ofSultanMurad III by the historianSayyidLokman and illuminated by famousnaqqash(painters) Molla Kasım and Ustad Osman. It is a unique work of Ottoman art. — Transferred to the Museum in 1915 from the Library of the complex in Aksaray (Istanbul) founded by the wife of Sultan Mahmud II and mother of Sultan Abdülaziz ('Abd al-'Aziz) I, Pertevniyal Valide Sultan (d. 1300 / 1883; queen mother from 1277–92 / AD 1861–76). — It is stated on the work that it was prepared for the Treasury of Sultan Murad III (r. 982–1003 / 1574–95) in 993 (1583). — The work was almost certainly written in Istanbul by order of the Sultan.

Bu sayfanın künyesi Prepared by:Sevgi KUTLUAYSevgi Kutluay is the Head of the Calligraphy and Manuscripts Section at the Museum of Turkish and Islamic Arts in Istanbul. She graduated from the Department of Archaeology and Art History at Hacettepe University, Ankara, in 1985 with the thesis “The Complexes of Kayseri Huand Hatun and Afşin Eshab-ı Kehf and the Development of Complexes in the Anatolian Seljuq Period”. She completed her Master's at the same department with a thesis entitled “Divriği Great Mosque and Its Decorative Programme” in 1989. She started working at the Ministry of Culture and Tourism in 1988 and has worked as an expert at various museums and departments of the ministry. She quit her Ph.D. entitled “The Diwan of Hüseyin Baykara and the 15th Century Manuscripts of Herat”. She participated in restoration projects on the wall paintings of Göreme Dark Church and Sumela Monastery in Trabzon and in the display designs of various museums.

Seçili bibliyografya Aksoy, Ş., “Zübdetü't Tevarih, Sultan III. Murad için Hazırlanan bir Şehname”, P.Art, Culture, Antique, 3, 1996, pp.17–37.ölçer, N.et al,In Pursuit of Excellence: The Museum of Turkish and Islamic Arts, Istanbul, 1993, p.42, pl. 19A–E; pp.52–6.ölçer, N.et al,Museum of Turkish and Islamic Art, Istanbul, 2002, pp.272–5.Renda, G., “New Light on the Painters of the Zubdat at Tawarikh in the Museum of Turkish and Islamic Arts in Istanbul”,Fourth International Congress of Turkish Art,University of Provence, 1976, pp.183–207.