It contains information about Dome of the Rock and Masjid-i Aksa calligraphy and decoration in Je... more It contains information about Dome of the Rock and Masjid-i Aksa calligraphy and decoration in Jerusalem.
Illustration de la couverture : « Monstre marin ayant façon d' un moyne » (d' après Belon) (Cysto... more Illustration de la couverture : « Monstre marin ayant façon d' un moyne » (d' après Belon) (Cystophora cristata, Erxl, Phoque à capuchon) Toutes les photographies reproduites ont été communiquées par les auteurs (T D R)
Book of sultans: The journey of book in The Ottoman Palace
However it is known that rulers have b... more Book of sultans: The journey of book in The Ottoman Palace However it is known that rulers have been playing a significant role in the develop- ment of culture and art, it showed itself in the Ottoman court with the start of the fiftieth century due to the fact that the rulers themselves involved into military expedi- tions most of the time. Specific book ordering for the sultan himself started during the reign of Murad II, developed and diversified with Mehmed II, Bayezid and Suleyman I and finally reached the peak during the reign of Murad III and Mehmed III. Sultans contacted some high ranked state officials such as the Grand Vizier for the request and they were in search of literary personalities with the style and language for the sultan. In further stages, it has been understood that these individuals were given the sole right of book writing. Among the books ordered by Sultans were the ones focusing on the history of dynasty of the Ottoman Sultans and their military achievements, as well as religious matters and others. Writing a book was taking longer time depending on the volume and big book projects were carried out by a group of writers. The language of these books was Farsi due to the fact that it was accepted to be a literary style. At the final stage, the book was ready to be presented to the Sultan. Everyone in the book writing team was awarded according to their position and contribution to the writing from the main author to the ink maker. The Sultan was known to dignify the author and some others who took a serious role in the team by presenting some honorific garments, called hil’at, timar and zeamet land with a tax revenue within the presen- ting the book to himself. Moreover, the monetary reward was a common practice for the entire members of the team. Therefore, publishing neither a big or small book in the Ottoman court was a long journey. Sultans and their patronage in the arts showed itself in producing books with aesthetic concerns.
It contains information about Dome of the Rock and Masjid-i Aksa calligraphy and decoration in Je... more It contains information about Dome of the Rock and Masjid-i Aksa calligraphy and decoration in Jerusalem.
Illustration de la couverture : « Monstre marin ayant façon d' un moyne » (d' après Belon) (Cysto... more Illustration de la couverture : « Monstre marin ayant façon d' un moyne » (d' après Belon) (Cystophora cristata, Erxl, Phoque à capuchon) Toutes les photographies reproduites ont été communiquées par les auteurs (T D R)
Book of sultans: The journey of book in The Ottoman Palace
However it is known that rulers have b... more Book of sultans: The journey of book in The Ottoman Palace However it is known that rulers have been playing a significant role in the develop- ment of culture and art, it showed itself in the Ottoman court with the start of the fiftieth century due to the fact that the rulers themselves involved into military expedi- tions most of the time. Specific book ordering for the sultan himself started during the reign of Murad II, developed and diversified with Mehmed II, Bayezid and Suleyman I and finally reached the peak during the reign of Murad III and Mehmed III. Sultans contacted some high ranked state officials such as the Grand Vizier for the request and they were in search of literary personalities with the style and language for the sultan. In further stages, it has been understood that these individuals were given the sole right of book writing. Among the books ordered by Sultans were the ones focusing on the history of dynasty of the Ottoman Sultans and their military achievements, as well as religious matters and others. Writing a book was taking longer time depending on the volume and big book projects were carried out by a group of writers. The language of these books was Farsi due to the fact that it was accepted to be a literary style. At the final stage, the book was ready to be presented to the Sultan. Everyone in the book writing team was awarded according to their position and contribution to the writing from the main author to the ink maker. The Sultan was known to dignify the author and some others who took a serious role in the team by presenting some honorific garments, called hil’at, timar and zeamet land with a tax revenue within the presen- ting the book to himself. Moreover, the monetary reward was a common practice for the entire members of the team. Therefore, publishing neither a big or small book in the Ottoman court was a long journey. Sultans and their patronage in the arts showed itself in producing books with aesthetic concerns.
List of contributors: Le livre: texte, image, objet
Le but de l’ouvrage est de mettre en lumière... more List of contributors: Le livre: texte, image, objet
Le but de l’ouvrage est de mettre en lumière certains aspects du rôle multimodal qu’a joué le livre depuis l’antiquité jusqu’à aujourd’hui. Autrement dit, ce volume se concentre sur le livre en tant qu’objet patrimonial, objet rituel, vecteur de connaissance, document historique, lieu d’interaction entre texte et image, entre patrimoine matériel et patrimoine immatériel, où les révolutions technologiques rencontrent les courants historiques, théologiques et artistiques, mais aussi en tant que source perpétuelle d’inspiration pour la création artistique.
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Papers by Hilal Kazan
However it is known that rulers have been playing a significant role in the develop- ment of culture and art, it showed itself in the Ottoman court with the start of the fiftieth century due to the fact that the rulers themselves involved into military expedi- tions most of the time. Specific book ordering for the sultan himself started during the reign of Murad II, developed and diversified with Mehmed II, Bayezid and Suleyman I and finally reached the peak during the reign of Murad III and Mehmed III. Sultans contacted some high ranked state officials such as the Grand Vizier for the request and they were in search of literary personalities with the style and language for the sultan. In further stages, it has been understood that these individuals were given the sole right of book writing. Among the books ordered by Sultans were the ones focusing on the history of dynasty of the Ottoman Sultans and their military achievements, as well as religious matters and others. Writing a book was taking longer time depending on the volume and big book projects were carried out by a group of writers. The language of these books was Farsi due to the fact that it was accepted to be a literary style. At the final stage, the book was ready to be presented to the Sultan. Everyone in the book writing team was awarded according to their position and contribution to the writing from the main author to the ink maker. The Sultan was known to dignify the author and some others who took a serious role in the team by presenting some honorific garments, called hil’at, timar and zeamet land with a tax revenue within the presen- ting the book to himself. Moreover, the monetary reward was a common practice for the entire members of the team. Therefore, publishing neither a big or small book in the Ottoman court was a long journey. Sultans and their patronage in the arts showed itself in producing books with aesthetic concerns.
However it is known that rulers have been playing a significant role in the develop- ment of culture and art, it showed itself in the Ottoman court with the start of the fiftieth century due to the fact that the rulers themselves involved into military expedi- tions most of the time. Specific book ordering for the sultan himself started during the reign of Murad II, developed and diversified with Mehmed II, Bayezid and Suleyman I and finally reached the peak during the reign of Murad III and Mehmed III. Sultans contacted some high ranked state officials such as the Grand Vizier for the request and they were in search of literary personalities with the style and language for the sultan. In further stages, it has been understood that these individuals were given the sole right of book writing. Among the books ordered by Sultans were the ones focusing on the history of dynasty of the Ottoman Sultans and their military achievements, as well as religious matters and others. Writing a book was taking longer time depending on the volume and big book projects were carried out by a group of writers. The language of these books was Farsi due to the fact that it was accepted to be a literary style. At the final stage, the book was ready to be presented to the Sultan. Everyone in the book writing team was awarded according to their position and contribution to the writing from the main author to the ink maker. The Sultan was known to dignify the author and some others who took a serious role in the team by presenting some honorific garments, called hil’at, timar and zeamet land with a tax revenue within the presen- ting the book to himself. Moreover, the monetary reward was a common practice for the entire members of the team. Therefore, publishing neither a big or small book in the Ottoman court was a long journey. Sultans and their patronage in the arts showed itself in producing books with aesthetic concerns.
Le but de l’ouvrage est de mettre en lumière certains aspects du rôle multimodal qu’a joué le livre depuis l’antiquité jusqu’à aujourd’hui. Autrement dit, ce volume se concentre sur le livre en tant qu’objet patrimonial, objet rituel, vecteur de connaissance, document historique, lieu d’interaction entre texte et image, entre patrimoine matériel et patrimoine immatériel, où les révolutions technologiques rencontrent les courants historiques, théologiques et artistiques, mais aussi en tant que source perpétuelle d’inspiration pour la création artistique.