Muraqqa: Difference between revisions
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== Persian Influence == |
== Persian Influence == |
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Although many would assume that the Turkish culture influenced the compilation of muraqqas, it was actually the Persian culture that had a large influence on it. The themes in the paintings and drawings demonstrate how strong the Persian influence was on Ottoman artwork instead of Turkish influence. They include scenes from Persian classics, Persian past-times, and representation of Persian royalty. Also included were ghazals, and Islamic calligraphy and the calligraphers were often Persian themselves. The prevalence of Persian themes in the muraqqa is no surprise because the Persian language was used widely in the Ottoman court. (Froom, 2001, p. 7) |
Although many would assume that the Turkish culture influenced the compilation of muraqqas, it was actually the Persian culture that had a large influence on it. The themes in the paintings and drawings demonstrate how strong the Persian influence was on Ottoman artwork instead of Turkish influence. They include scenes from Persian classics, Persian past-times, and representation of Persian royalty. Also included were ghazals, and Islamic calligraphy and the calligraphers were often Persian themselves. The prevalence of Persian themes in the muraqqa is no surprise because the Persian language was used widely in the Ottoman court. <ref>(Froom, 2001, p. 7)</ref> |
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== Reconstruction of the Muraqqa == |
== Reconstruction of the Muraqqa == |
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Revision as of 06:02, 3 April 2008
A muraqqa is an album of artwork which predominated in the sixteenth century in the Safavid, Mughal and Ottoman empires. The muraqqa album consists of compilations of various fine arts, including Islamic calligraphy, Ottoman miniature, paintings, drawings, ghazals, and Persian poetry. The pages in this type of illuminated manuscript usually have decorated borders or margins. The ruling elite of this time period were fond of collecting these types of albums and they sometimes made alterations to muraqqas[1] . Some albums were made specifically for rulers or royalty, while other albums were made from existing albums, war booty, or other books. The muraqqa style was largely influenced by the Persian language and fine arts. The Murad III muraqqa has been used as a prime example of a comprehensive muraqqa.
“Muraqqa means that which is put together from several pieces and refers to albums compiled by and for imperial and non-imperial Muslim connoisseurs and collectors.”
The Murad III Muraqqa
A muraqqa was created for Sultan Murad III in 1572 when he was first named Sultan.[3] This album is unique because the dedication is very detailed, including the date and location of when the album was made (Constantinople/Istanbul, 980 AH/1572-73 AD).[4] The dedication is for Murad III specifically and it also names his compiler Mehmed Cenderecizade. The Murad III muraqqa was designed much more extravagantly than other Islamic muraqqa’ and in original nakkashane (Ottoman painting studio) page designs[5]. This muraqqa also had miniature paintings, ink drawings, Islamic calligraphy, ghazals. The Murad III muraqqa has twenty-four Ottoman miniature paintings and drawings which were created in the cities of Bukhara, Tabriz, Isfahan, Qazvin and Istanbul during the late fifteenth through seventeenth centuries [6]. The Murad III muraqqa’ has a two page introduction which is written in the Persian language[7]. This introduction is similar to the structure of Timurid and Safavid album prefaces. The details of this introduction indicate that this muraqqa was compiled in Istanbul less than two years before Murad III became Sultan[8].
Persian Influence
Although many would assume that the Turkish culture influenced the compilation of muraqqas, it was actually the Persian culture that had a large influence on it. The themes in the paintings and drawings demonstrate how strong the Persian influence was on Ottoman artwork instead of Turkish influence. They include scenes from Persian classics, Persian past-times, and representation of Persian royalty. Also included were ghazals, and Islamic calligraphy and the calligraphers were often Persian themselves. The prevalence of Persian themes in the muraqqa is no surprise because the Persian language was used widely in the Ottoman court. [9]
Reconstruction of the Muraqqa
When a city in the Ottoman Empire was conquered by a new ruler or Sultan, the new ruler would acquire any manuscripts of the previous ruler and store it in his library or manuscript treasury. Eventually some treasuries acquired various works, including works by ilkhanid, Jalayirid, Timurid, Turkman, Mamluk, Safavid, and Uzbek artists.[10] Some manuscripts were found incomplete regarding Ottoman miniatures, book binding, and text. Some of the new owners attempted to complete these manuscripts and these additions compromised the integrity and authenticity of the muraqqa. The alterations include dedications in illuminated medallions on the first page, inscriptions on the book binding, and stamped impressions on the page[11]. These alterations have also caused discrepancy in history because sometimes new owners would claim the entire contents of the manuscripts.
Influence in the 20th Century – Abdur Rahman Chughtai
Abdur Rahman Chughtai was a painter who was responsible for the revivial of the muraqqa in Pakistan in 1928 after publishing his Muraqqa-I Chughtai. When he started painting in the 1910s he was largely influenced by Hindu mythology. In the 1920s he was inspired by Islamic artwork including the muraqqa, ghazals, and the Ottoman miniature[12].
References
Dadi, Iftikhar (2006). "Miniature Painting as Muslim Cosmopolitanism" ISIM Review: International Institute for the Study of Islam in the Modern World. No. 18 pp. 52-53.
Froom, A. E. (2001). "Collecting Tastes: A Muraqqa’ for Sultan Murad III". Electronic Journal of Oriental Studies IV: 19, pp. 1-14
Tanindi, Zeren (2000). "Additions to Illustrated Manuscripts in Ottoman Workshops". Muqarnas. Brill: 17. pp. 147-161
Fetvaci, Emine F. (2005). "Viziers to Eunuchs: Transitions in Ottoman Manuscript Patronage, 1566--1617." Unpublished PhD Dissertation. Harvard University, 2005.
External Links
[1]http://www.asiexhibitions.org/news/view.asp?ID=31 [2]http://newsdesk.si.edu/releases/fsg_MURAQQA.htm
For Further Reading
Sakisian, Armenag (1940). "Coexistent Schools of Persian Miniature Painting." The Burlington Magazine for Connoisseurs. The Burlington Magazine Publications, Ltd.: 76.446, pp. 144-145 + 148-151 + 155
Sakisian, Armenag (1939). "The Portraits of Mehmet II." The Burlington Magazine for Connoisseurs. The Burlington Magazine Publications, Ltd.: 74.433, pp. 172-173+176-178+181.