IJOT 102020 november 2020 Mecca

Number 10 Year 2020 INTERNATIONAL JOURNAL OF TURKOLOGY RESEARCH and STUDIES OF ISLAMIC INSCRIPTIONS Des Etudes et des Recherches Épigraphiques Islamiques İSLAMİ KİTABE ARAŞTIRMALARI ‫مجلة دراسات الكتابات والنقوش اإلسالمية‬ Publicatiıon of SOTA ISSN 1570-694X [email protected] INTERNATIONAL JOURNAL OF TURKOLOGY nr. 10 Kasim/ November 2020 RESEARCH and STUDIES OF ISLAMIC INSCRIPTIONS Etudes et des Recherches Épigraphiques Islamiques İSLAMİ KİTABE ARAŞTIRMALARI ‫مجلة دراسات الكتابات والنقوش اإلسالمية‬ ISSN 1570 694X Chief-editor: Mehmet Tütüncü Editors: Ahmed Ameen (Fayoum University), Fathi Jarray (Tunis), Mamoona Khan (Islamabad). Torbjorn Ødegaard (Oslo), Mehmet Emin Yılmaz (Ankara) Editorial board: Murad Adjabi (Alger), Ludvik Kalus (Paris), Frederic Bauden (Liege) Ahmet Ali Bayhan (Ordu) , Ahmet Taşğın (Ankara), Mehmet Akif Erdoğru (Izmir), Sami Saleh Abdelmalek (Cairo), Ibrahim Yılmaz (Erzurum), Hatice Aynur (Istanbul), Andrey Krasnozhon (Odessa), Olga Vasileva (St. Petersburg), Moshe Sharon (Jerusalem), Klaus Kreiser (Berlin), Timur Kocaoğlu (Michigan), Andrew Petersen (Wales), Ardian Muhaj (Tirana) Contact: e-mail: [email protected] Postal adress: SOTA Brabantlaan 26 2101 Sg Heemstede Netherlands Cover photo: Mecca Painting in the Uppsala University Libraray UU 2372 (Photo: Uppsala University Library) 2 K ASI M - N O VEM BER 2 0 2 0 İÇİNDEKİLER / CONTENTS Turkology.092020.ID0029 CARINE JUVIN pp. 4-10 Two Unpublished Mamluk Decrees in the al-Shāfiʿī Mosque in Jedda Turkology.092020.ID0030 Mehmet Tütüncü pp. 11-58 UPPSALA MECCA PAINTING DEBATE. Some remarks to an article by Deniz Beyazıt in Muqarnas 37 (2020). K A S IM -N OV E M B E R 2 0 2 0 3 Two Unpublished Mamluk Decrees in the al-Shāfiʿī Mosque in Jedda Dr Carine Juvin While many historical and funerary inscriptions from the medieval period are known for the Hijaz area, particularly in the holy cities of Mecca and Medina, only two inscriptions have been recorded thus far for the main Hijazi port of Jedda in the Thesaurus d’épigraphie islamique, and both only through vague mentions. One of these two inscriptions was surveyed in the al-Shāfiʿī mosque, also known as Jāmiʿ al-ʿAtīq.1 Actually, there are more inscriptions in this mosque, but this paper will mainly focus on two inscriptions which appear to be decrees issued by the Mamluk sultan Barsbāy (825-842/ 1422-1438). Only partly legible, their texts are here given and commented.2 They bring new evidence corroborating the written historical sources about Barsbāy’s commercial and fiscal intervention in the Red Sea trade. Topographical Context The al-Shāfiʿī mosque, also known as Jāmiʿ al-ʿAtīq, is located in the old city area, near Bāb Makka, at Maḥallat al-Mazlūm district. It is believed that a first mosque was built there by ‘Umar b. al-Khaṭṭāb. The present building could partly date from the reconstruction of the mosque undertaken by the Rasulid sultan al-Malik al-Muẓaffar in 1251.3 The mosque 1 Thesaurus d’épigraphie islamique online (TEI), no. 14588, from a mention of an inscription naming Ḥasan b. ʿAjlān [see inscription A of this paper) in : Vincenzo Strika, «Studi saudiani (I- Le moschee di Gedda; IIAspetti giuridici delle attivita archeologiche)», Annali Istituto Orientale di Napoli XXXV, 1975, p. 557. The second recorded inscription is TEI no. 13624, inscription dated 915/ 1509-10, location and content unknown, from a note by Gaston Wiet (archives in the Max van Berchem Foundation, Geneva). V. Strika actually also mentionned a second inscription above the main entrance of the Shāfiʿī mosque, in the name of al-Malik al-Muẓaffar, but this inscription is not recorded otherwise and not extant in the present mosque. 2 My reading was made from photographies, taken in January 2014, provided by Dr Mehmet Tütüncü. I warmly thank him for this opportunity to work on these exciting documents. 3 This is mentioned in a seventeenth century source: ʿAbd al-Qādir b. Aḥmad al-Shāfiʿī, al-Silahwa 4 K ASI M - N O VEM BER 2 0 2 0 was subsequently restored in the mid sixteenth century by the khawājā Muḥammad ʿAlī, an Indian merchant, who would have brought some wooden columns from India (still extant inside the mosque); this Indian merchant also built houses and shops surrounding the mosque according to the endowment deed (waqfiyya).4 This renovation is corroborated by an inscription situated above the door of the main entrance, on the southern wall, leading to the court of the mosque (Fig. 1). The text is displayed in four lines, in an elegant thuluth script with elongated vertical strokes, carved in a wood panel5 and painted. It mentions the khawājā Muḥammad ‘Alī and gives the date of 946H/ 1539-40:6 ‫ ـ امر بعمارة هذا الجامع المبارك الفقير الى هلل تعالى‬١ ... ‫ خواجا محمد علي‬...‫ ـ الراجى عفو العزيز‬٢ ‫ في عام ستة‬...‫ ـ عفى هلل تعالى عنه و جعل الجنّة‬٣ ‫ ـ و اربعين و تسع مائة من الهجرة النبوية المصطفوية‬٤ 1 - The construction of this blessed Friday mosque was ordered by the poor [slave] of God the Exalted 2 - who seeks for the forgiveness of the Mighty [God]... khawājā Muḥammad ʿAlī… 3 - may God the Exalted forgive him and allow him to Paradise… in the year six 4 - and forty and nine hundred of the Chosen Prophet’s Hijra. Other more recent inscriptions are found inside the prayer hall, around the mihrab, which have received a late Ottoman style decoration: several medallions contain Qur’anic excerpts (notably 2: 137 in the spandrels); a top inscription in mirror maʿqilī script contains the al-jidda fī ta’rīkh bandar Jidda, ed. ʿAlī Muḥammad ʿUmar, Cairo, 1997, p. 47-48, quoted in: G. R. D. King, The Historical Mosques of Saudi Arabia, London and New York: Longman, 1986, p. 38-39. See also : ‘Abd al-Qaddūs al-Anṣārī, Kitāb ta’rikh Juddah, Jedda, 1383/1963. For a recent discussion and study of the Shāfiʿī mosque, see : Hidaya Abbas, “Al-Jami’al-‘Atiq, the Oldest Mosque in Jadda”, Journal of Islamic Thought and Civilization 4, no. 2 (2014): 09–20 ; and also, for construction analysis : Ashraf Osman, “Structural Strengthening of al-Shafi Mosque at Jeddah-KSA”, 10th Alexandria International Conference on Structural, Geotechnical Engineering and Management, Alexandria, December 2019 : https://www.researchgate.net/publication/338111588 (accessed 25/08/2020). 4 According to ʿAbd al-Qādir b. Aḥmad al-Shāfiʿī, see reference in note 1. 5 The nature of the material is uncertain, this statement is made from its aspect on the photography. 6 This inscription was not mentionned by V. Strika ; H. Abbas mentions it (Abbas, op. cit., p. 10), but without giving a full reading and with a faulty date of 944/1538. K A S IM -N OV E M B E R 2 0 2 0 5 shahāda; a medallion at the apex of the arch of the mihrab gives the date of 1334/1915;7 there is also a renovation inscription band above the arch, in large thuluth, obviously naming an Ottoman sultan, which should be Mehmet V (1909-1918) according to the date of the mihrab.8 The mosque was heavily restored in the recent years. The Mamluk Decrees: Description and Content On the wall above the door of the southern entrance, framing the previously mentioned inscription of khawājā Muḥammad ‘Alī, are two slabs of dark basalt stone. The one on the right (inscription A, Fig. 2) is almost square in shape, and smaller than the one on the left (inscription B, Fig. 3), which is rectangular. Both have sixteen lines of text. Inscription A is the more complete, though it is still difficult to decipher due to its fouling and erased parts. Inscription B is almost completely erased except parts of the first top lines. One can hope that in the future, a careful cleaning will allow a more accurate reading, at least for inscription A. Both are written in a small curvilinear script, hesitating between naskh and thuluth, with many entangled words or letters (some letters being written above the main writing line). The script is in very low relief against the hammered background. The text blocks are simply framed by a thick strip; the only ornaments enhance the first line of each text (the basmala): a twisted strip for inscription A and some foliage motifs for inscription B. These two inscriptions, which have never been studied thus far, are actually decrees issued by the Mamluk sultan Barsbāy, also naming (inscription A) the sharif Barakāt b. Ḥasan b. ʿAjlān, amir of Mecca between 829/ 1426 and 859/1455 (with an interruption between 845 and 850). Both decrees are dated 8th Jumādā I 830/ 7th March 1427.9 :Inscription A ‫ ـ بسم هلل الرحمن الرحيم‬١ ‫ ـ لمّا كان بتأريخ ثامن شهر جمادى األولى سنة ثالثين و ثمان مائة‬٢ ‫ ـ برز المرسوم الشريف العالي المولوي السلطاني الملكي األشرفي‬٣ ‫ ـ ابو النصر برسباي خلد اهلل ملكه و و ثبّت قواعد دولته إلى السيّد‬٤ ‫ اهلل تعالى‬... ‫ ـ الشريف بركات ابن حسن بن عجالن امير مكّة المشرفة‬٥ ‫ ـ باجهار النداء بمكّة المشرفة و بجدّة المعمورة بأن ال يؤخذ من تجّار هنود‬٦ 7 These inscriptions are reproduced and read in : H. Abbas, op. cit., p. 15-16. 8 Unfortunately, this inscription is not discussed by H. Abbas, and the photographies do not allow a proper reading. 9 H. Abbas, who only read the names of the sharif Barakāt in inscription A and of sultan Barsbāy in inscription B, considered that they were renovation inscriptions. 6 K ASI M - N O VEM BER 2 0 2 0 ‫ ـ و غيرهم المجورين عن عدن الواصلين الى جدّة‬٧ ‫المعمورة سوى العشور‬ ...‫ ـ كلّ صنف من صنفة من غير‬٨ ...‫ ـ إلى الطور المبارك‬٩ ...‫ ـ الطور المبارك‬٠١ ...‫ ـ المراسم الشريفة‬١١ ... ‫ ـ الندا ذلك‬٢١ ... ‫ ـ و الرعايا و المجاورين‬٣١ ...‫قواعد‬... ‫ ـ‬٤١ ‫صلى اهلل على‬........... ‫ ـ‬٥١ ...‫ ـ عمل محمّد ابن‬٦١ 1 - In the name of God the Compassionate, The Merciful, 2 - when it came to the date of 8th Jumādā I of the year 830 3 - was issued the high and noble decree of the master, the sultan al-Malik al-Ashraf 4 - Abū’l-Naṣr Barsbāy, may God perpetuate his reign, and strengthen the basis of his power, through the sayyid 5 - the sharif Barakāt b. Ḥasan b. ʿAjlān, amir of the Noble Makka... God the Exalted 6 - the proclamation at the noble Makka and at the florishing [sultanian] Jedda10, that it should not be taken anything from the Indian merchants 7 - or of other origin, having deviated from Aden and arriving at Jedda the well-built, except the ushūr duties 10 On the meaning and translation of the epithet “maʿmūra”, see : H. El-Hawary and G. Wiet, Matériaux pour un Corpus Inscriptionum Arabicarum, 4e partie, Arabie. Inscriptions et monuments de La Mecque, Haram et Ka‘ba (ed. N. Elisséeff), Cairo: IFAO, 1985, p. 160. K A S IM -N OV E M B E R 2 0 2 0 7 8 - on the goods... 9 - towards the blessed al-Ṭūr... 10 - the blessed al-Ṭūr... 11 - the royal decrees (or duties)... 12 - the proclamation... 13 - the permanent and temporary residents... 14 - ...the rules (or duties)... 15 - blessing of God upon... 16 - work of Muḥammad b. ... Inscription B: ‫ ـ بسم هلل الرحمن الرحيم‬١ ‫ ـ لمّا كان بتأريخ ثامن شهر جمادى األولى من عام ثالثين و ثمان مائة‬٢ ‫ ـ [برز] المرسوم الشريف العالي المولوي السلطاني الملكي‬٣ ...‫ ـ [األشرفي] ابو النصر برسباي خلد‬٤ ... ‫ برسم‬... ‫ ـ‬٥ ... ‫ اهلل تعالى‬... ‫ ـ‬٦ ... 1 - In the name of God the Compassionate, the Merciful, 2 - on the date of 8th Jumādā I of the year 830 3 - was promulgated the high and noble decree of the master, the sultan al-Malik 4 - [al-Ashraf] Abū’l-Naṣr Barsbāy, may God perpetuate [his reign...] 5 - ... by order... 6 - ...God the Exalted... 8 K ASI M - N O VEM BER 2 0 2 0 Two Decrees related to Taxation on the Sea Trade The decree transcribed in inscription A obviously deals with the taxation of the ships arriving to the port of Jedda from India or others places in the Gulf. It also mentions the port of al-Ṭūr, on the southwest coast of the Sinai Peninsula. These two ports gained an increasingly prominent position in the Red Sea during the first half of the fifteenth century, at the instigation of the Mamluk state. Jedda competed with the port of Aden for the ships arriving from the Gulf and the Indian Ocean, while al-Ṭūr, after its renovation at the end of the fourteenth century, became the main Egyptian spice trade station to Cairo. This inscription finds direct echoes in the contemporary historical sources, which document the intensification of Mamluk domination on the commerce in the Hijaz concurrently with the sharif of Mecca and the Rasulids of the Yemen.11 This decree illustrates the 11 On the political and commercial situation in the Hijaz under sultan Barsbay, and for details of the sources, see: Ahmad Darrag, L’Égypte sous le règne de Barsbay (1422-1438), Institut Français de Damas, Damascus, 1961; John L. Meloy, Imperial Power and Maritime Trade. Mecca and Cairo in the Later Middle Ages, University of Chicago, 2010, p. 120 ff ; Eric Vallet, L’Arabie marchande. Éat et commerce sous les sultans rasūlides du Yémen (626-858/ 1229-1454), Paris, Publications de la Sorbonne, 2010, p. 656-670. K A S IM -N OV E M B E R 2 0 2 0 9 implementation of this fiscal control by the Mamluk sultanate. Around 830/1427, numerous Indian and Persian (Hormuz) ships arrived in Jedda, having deviated (hence designated as mujawwirūn) from Aden, the Yemeni port which was their usual destination. This change was partly due to the harsh treatment that the merchants sometimes received in the Yemeni port, and probably because they were willing to have a more direct access to Meccan markets. These Indian ships were until forty in Jedda in 829/1426 according to al-Maqrīzī. The Mamluk state wanted to make some substantial profit from this situation and taxes (mukūs, ‘ushūr) were taken on them by seasonal Mamluk troops since 828H/1425; these taxes were in principle shared with the sharif of Mecca. The Meccan chronicler Najm al-dīn ibn Fahd records that in the very year 830, rabīʿ I / January 1426, some Indian merchants complained to the Mamluk sultan that one-third of their goods were lost because of the corrupted official (mubāshir) in place.12 The decree in the Shāfiʿī mosque seems to be a direct answer to these complaints, by reaffirming the only legal ʿushūr (one-tenth) duties that should be taken from them. Interestingly, Najm al-Dīn ibn Fahd also notes that by this date of 830/1426, the stipends of the staff members in local mosques in Jedda were funded by the revenue of theses taxes on the ships, according to orders sent from Cairo.13 One wonders if the inscription B could have transcribed this order. The Shāfiʿī mosque was an important Friday mosque in the city of Jedda, and, as such, a favored place for affixing a decree on its entrance portal, so that it would be broadly announced to the local community. The look of these slabs, their material – dark basalt stone - and the style of their script show close similarities with the Meccan tombstones of the same period, notably with a group of stelae made between 824/1421 and 854/1450, signed by a lapicid named Muḥammad b. Abū’l-khayr al-mu’adhdhin.14 On the decree A, it seems that there is a signature of the lapicide at the bottom line, but unfortunately only his ism “Muḥammad” can be read. Whoever he may have been, these two inscriptions were most probably ordered from a specialized workshop in nearby Mecca and then brought to Jedda. It is also possible that a double of the decree A was made to be affixed on a building in Mecca, as suggested by the mention found on line 6, naming the two cities. Though unfortunately damaged and thus fragmentary, these two inscriptions represent unique material testimonies of the Mamluk domination over the port of Jedda in the fifteenth century, complementing the textual sources. They add to the few Mamluk decrees already known for Mecca15 and prove that new historical epigraphic documents from the medieval period are still to be brought to light in Arabia. 12 Quoted in : Meloy, op. cit., p. 129, and in Vallet, op. cit., p. 662. 13 Meloy, op. cit., p. 129. 14 See Carine Juvin, “Calligraphy and Writing Activities in Mecca in the Medieval Period”, Proceedings of the Seminar for Arabian Studies 43, Oxford, Archaeopress, 2013, p. 161-162. 15 Published in : H. El-Hawary and G. Wiet, op. cit. 10 K ASI M - N O VEM BER 2 0 2 0 Entrance of the mosque and the location of the inscriptions (Photos from January 2014, by Mehmet Tütüncü) K A S IM -N OV E M B E R 2 0 2 0 11 UPPSALA MECCA PAINTING DEBATE. How not to define Ottoman realism in the Uppsala Mecca painting. Some remarks to an article by Deniz Beyazıt in Muqarnas 37 (2020). Mehmet Tütüncü In Muqarnas 37 (published in November 2020), an article by Deniz Beyazit (from The Metropolitan Museum of Art, in New York) was published. The article1 deals with a subject that’s near to my heart: The Mecca painting at Uppsala University in Sweden. In 2015, I published a comprehensive article about the same subject. So, I was very much interested if Deniz Beyazit’s article would give any new insight and possible new points of view and discoveries. But after reading, I was left with a great disappointment, since the complete text is repeating the conclusions and plagiarize my earlier published article, but without giving sufficient acknowledgment, credits, or the necessary reference. Instead, the author tries to depreciate my contributions by grabbing some of my views and discoveries and presenting this as hers. Before I go further in this critic, I would like to dwell on my involvement in the painting, and my professional relation to this unique piece of art. 1. My involvement One of my research axes after 2010 became the Ottoman Mecca and Medina. I became involved in the subject after 2010, due to my general research on the Ottoman heritage. It started with inscriptions and continued with illustrations, images (representations), and maps, which is presented in my publication list.2 During this research, I have given give 1 Defining Ottoman Realism in the Uppsala Mecca Painting By: Deniz Beyazıt, Muqarnas 2020, pp. 209–245. Publication date: 06 Oct 2020. 2 “The Uppsala Mecca painting: A New Source 12 K ASI M - N O VEM BER 2 0 2 0 many lectures at different international conferences, congresses, workshops – in London (2012), Leiden (2013), Saudi Arabia (2014), Uppsala (2014), Napoli (2015), Istanbul (2017), and also in Ankara (2019). One of my great passion for research in recent years has been the mysterious Mecca painting from Upsala University. This painting was, until my efforts, a more or less neglected piece for the Cultural Topography and Historiography for Mecca”, Hajj Global Interactions through Pilgrimage. Edited by Luitgard Mols & Marjo Buitelaar, Leiden 2015 pp. 137–162 Procedings Symposium Hajj: Global Interactions through Pilgrimage 28th and 29th November 2013. - “Arabic and Turkish Inscriptions on the Darb al-Hajj al-Shami”, in The Archaeology of the Syrian Hajj Route in the Medieval and Ottoman Periods Route, by Andrewe Petersen, British Academy/ Oxbow, Oxford (May 2012), pp. 155–163. - Mekka and Medina Maps and Illustrations: From 15th to 20th Century. By Mehmet Tütüncü ISBN 97890-6921-022-3, Haarlem 2020, 182p. CORPUS OF TURKISH ISLAMIC INSCRIPTIONS nr: 18 TÜRK İSLAM KİTABELERİ DİZİSİ no:18. - Mehmet Tütüncü, Mekke Kitabeleri, Meccan Inscrip tions, Haarlem 2020 ISBN 978-90-6921- 026-1 - “Royal Ottoman Inscriptions on the Istanbul to Mecca Pilgrimage Route (Darb al-Hajj al-Shami)” Hajj Congress British Museum, 22-24 March 2012 Published in Hajj Collected Essays, edited by Venetia Porter and Liana Saif, London British Museum 2013, pp. 36-43 -“Kabe’deki Osmanlı Topları” Düşünce ve Tarih Dergisi, Mart 2015 Yıl 2 sayı 8, s. 16–23 -“Suudi Arabistan’ın Cidde kentinde Bir Türkçe Kitabe Mısır valisi Kavalalı Mehmet Ali Paşa’nın Cidde’de Hanefi Camisi’nde Bulunan Kitabesi”, Düşünce ve Tarih, Şubat 2017, s. 32–37. of art. Through my efforts and interventions, the painting is recognized and is now in the front line for historical Mecca studies. The Harameyn Museum in Mecca has now a facsimile copy, offered by the Swedish embassy in Saudi Arabia. After that, I was invited to different programs to present and lecture about this painting. I participated in one workshop at Uppsala University, May 2014, (Appendix 2), in Istanbul April 20–21, 2017 (Appendix 3), in Congress of Turkish Art Napoli in September 2015 (Appendix 4), and also in Saudi Arabia (Appendix I become involved in this painting during a 6). preparation for an exposition on Hajj in the Ethnographic Museum of Leiden University, Shortly after the painting came to Holland which opened in October 2013. During one for the exposition, I contacted Karen Ådahl, of the preparatory meetings with the Curator who had written the first catalog text, and inLuitgard Mols, I suggested to get this paint- formed her that I was preparing an article and ing from Sweden to Leiden. Luitgard Mols started to work on the reading the mystericontacted the University, and she managed ous captions (email exchange 25-09-2013 and that this piece of art was sent to Holland, for 3-10-2013). Ådahl informed me that she was her excellent curated exhibition, where it be- preparing a book about the painting and and came one of the top objects of the exhibition. invited me to participate into a workshop she And I had the chance to study in extenso the was organizing. painting during this exhibition, which lasted 2. Research history from September 10th 2013 until March 9th 2014. The Uppsala painting was for 300 years stored In November 2013, shortly after the opening, in Uppsala University without creating much a symposium was held, entitled: Hajj: Global interest. The Swedish scholar Erik Gren wrote Interactions through Pilgrimage 28 and 29 Noin 1945: ‘This, without any doubt, is the greatest vember 2013 (see appendix 1 for the conference treasure that Eneman brought back, and it is program and participants list). quite remarkable that it should still not have been In this symposium, I presented my discoveries published, even though its great value always has on this painting for a forum of international ex- been appreciated’. Also, Karin Ådahl, in 2001, perts of Islamic art (appendix 1). My commu- lamented: ‘Today fifty years later, the painting nication of this presentation was a revelation has still not been made the subject of any scholarly of the facts “that this painting by an unknown study’ (Ådahl 2001: 256). artist appears to be a realistic and astonishing- So, I came in 10 years later than Karin Ådahl’s ly exact drawing of Mecca from the years 1710- lament. 1712. It contains unique and very important In this workshop in Uppsala University, I information about the cultural topography of presented the result of my research. Deniz Mecca and its urban fabric.” And I closed my Beyazit was also one of the speakers, and we presentation with the following words: “No had afterwards e-mail exchanges and. Karin other illustrations of Mecca contain more or Ådahl was preparing a book about the Uppsala richer details. There is still much more analy- painting, but some eight years later this book sis to be done on this painting, which has only is still not published. My article was published started to reveal its secrets.” The symposium in a book which was based on the Symposium paper I worked out, resulted in an article for held in Leiden in 20153, and Deniz Beyazit has a book that was published in 2015 (Mols 2015, 3 “The Uppsala Mecca Painting: A New Hajj Global Interactions through Pilgrimage, Source for the Cultural Topography and edited by Luitgard Mols and Marjo Buitelaar Historiography for Mecca,” in Hajj: Global appendix 5). Interactions through Pilgrimage, ed. Luitgard K A S IM -N OV E M B E R 2 0 2 0 13 now published her article 5 years later in 2020. Despite our friendly exchange, and participating in 2 similar subject symposium organized by the Swedish Research Institute in Uppsala and Istanbul (in 2014 and 2017), Beyazit never gave me her paper. So, I was very interested in what Beyazit should have written about the painting. 3. Article of Deniz Beyazit: Beyazit’s article is quite long (37 pages); Beyazit writes in the introduction: “This paper will provide both a detailed analysis of the painting and a comprehensive comparative study, which should allow for a fuller understanding of the characteristics of the Uppsala painting and a clearer determination of the sources and models that may have inspired its maker. The paper also aims to position the work within the history of Mecca paintings, and attempts to address the painting concerning the westernization tendencies of art and culture in the later Ottoman empire.” View and Map of Mecca: The Inscriptions,” online preprint, Uppsala University, http://uu.divaportal.org/smash/record.jsf?pid=diva2:693332, 1–14. As part of the Swedish research project, directed by Karin Ådahl, workshops were held in Uppsala (May 2014) and in Istanbul (April 2017), in which the author of this study participated. A collective volume is in preparation for publication. I am grateful to Karin Ådahl and Johan Heldt for having shared their papers with me. Hereafter Beyazit writes: Mehmet Tutuncu also presented on the painting; see “The Uppsala Mecca Painting: A New Source for the Cultural Topography and Historiography for Mecca,” in Hajj: Global Interactions through Pilgrimage, ed. Luitgard Mols and Marjo Buitelaar (Leiden, 2015), 137–162. And adds that: Tutuncu draws on Hans Nordesjo’s reading of the inscriptions, while adding a few new findings on the inscriptions. He stresses the importance of the painting; however, Beyazit first describes methods and systems his article does not fully discuss how the Uppsala of mapping technics of cities from different Mecca painting relates to other artistic traditions perspectives and presents the painting and and imagery of Mecca. add some comments on some points. And then she describes the painting and its origins. Footnote 10. The inscriptions have been studied by Nordesjö, “A 17th-Century View,” 1–14. See Beyazit mentions in three footnotes my name also Tutuncu, “Uppsala Mecca Painting.” and work. In footnote six, Beyazit gives the Footnote 136. For a preliminary discussion, see next observations: Tutuncu, “Uppsala Mecca Painting.” The Uppsala Mecca painting was first published and discussed by Karin Ådahl, Orientalismen i svensk This is all that I get of credit from Deniz Beyazit konst: Islamiska föremål, förebilder och influenser on my article from 2015 i konst och konsthantverk (Stockholm, 1990) and is also included in the catalog of the Uppsala 4. Critics: University Art Collections: Thomas Heinemann, What Beyazit says, is by downplaying and ed., Uppsala University Art Collections, Painting neglecting others accomplishments and and Sculpture (Uppsala, 2001), 256–57, with a short especially, my contribution to the subject commentary by Karin Ådahl. Hans Nordesjö was which is the first serious and most significant the first to study and publish the painting’s many contribution to the contents of the painting inscriptions; see Hans Nordesjö: “A 17th-Century after nearly 300 years of its long sleep in Uppsala University. Beyazit remarks my Mols and Marjo Buitelaar (Leiden, 2015), pp. contribution very cool with the words “MT 137-162 14 K ASI M - N O VEM BER 2 0 2 0 also presented on the painting”. So first let’s see what my contribution was: 1. I made the first scholarly lecture at an International conference in Leiden 2013 about this painting. And this was for the first time the full aspects of the painting and its importance was concretely named and its secrets were disclosed. 2. And I published also the first scholarly article in 2015. So, I did not only “also present” as Mrs. Beyazit writes, but I made the biggest contribution in the 300 years old paintings importance and interest. 3. Beyazit also writes in a depreciating way of my contribution that although I stress the importance of the painting, I am not discussing how the Mecca painting is related to other artistic traditions and imagery of Mecca. This remark is also beyond any scholarly standards of objectivity. In my published article, that I had uploaded to academia. edu and was and is free downloadable, was 25 pages long, and if we look at the heading of my article after an introduction, I discuss representations of the Kaaba before and after the painting, I discuss the Uppsala paintings and its captions, and also later developments in representations of Mecca and Kaaba and closes with a conclusion and an appendix of legends in the painting and 16 figures with details of the Kaaba painting and numbered captions for easy reference. So, this remark of Deniz Beyazit as I have not discussed the painting to other artistic traditions is beyond any truth. 4. I discuss the traditions before and after the painting. Why Deniz Beyazit tries o diminish the value of my article remains a mystery. Instead of building on my solid article, she tries to depreciated my article and build her new building. 5. Captions: Beyazit says that I draw on the captions of Hans Nordesjö. That’s also not true. In a footnote, I presented my readings of the captions at the Leiden Conference in November 2013. I numbered all the captions in the painting and for easy reference used the number in the pictures that accompanied my article. When I contacted Karen Ådahl, she suggested that Hans Nordesjö has also worked on those issues. In a footnote in my article and, based on my presentation in 2013, I put the next footnote: (MT 2015, p. 140, footnote 3): Hans Nordesjo, one of the contributors of the Uppsala University Image of Mecca symposium (on 5 May 2014), studied the red captions of the painting and submitted his findings on 2 April 2014 to the Uppsala University repertory. My readings presented during the Hajj symposium in Leiden in November 2013, differ in some respects from those of Hans Nordesjö. Captions are Ottoman markers of buildings and topographical objects. They identify the buildings and are sometimes erased but mostly easily legible words. It should be no surprise that two people with knowledge of Arabic could come mostly to the same result. But what Beyazit also tries with this remark, is claiming that I draw on Nordesjö’s readingsand diminish my contribution on the captions, giving the credit to Hans Nordesjö. With Hans, I worked closely together to revise his captions and to solve some issues. (Because Hans Nordesjö is an Arabist, he has sometimes no idea what the Ottoman words are). From an email from 11 february 2014, from which an image is printed here one can see that I sended my readings of captions to Hans Nordesjo. He comments on my numbered readings. Deniz Beyazit was aware of my conversation with Hans Nordesjö, and she participated also in the e-mail discussion. But in her footnote she tries to put doubt on my findings and tries to attribute it to someone else. K A S IM -N OV E M B E R 2 0 2 0 15 e-mail from Hans Nordesjo from 11 February 2014 But thats not all Beyazit suggests that my article is about captions. “ Tutuncu draws on Hans Nordesjo’s reading of the inscriptions, while adding a few new findings on the inscriptions”. My article is not only about captions. It is is a comprehensive survey of the painting and comparing it with other sources. It is like an editio princeps, an attempt to open up a closed book. I write in page 140 what I am trying to do with my article: as if it has been only about captions. My article is about the historical topography of Mecca and discusses historical relevant facts connected to the painting. 7. Another point that Deniz Beyazit is distorting, is a very serious matter. She pretends a fact that was discovered by me as a fact that she has discovered. This is Adriaan Reland’s connection to the painting. She writes the name as Reelant, but the good Adriaan In this study of the painting, I will first briefly was called Reland and not Reelant as Deniz discuss Mecca representations that preceded the Beyazit is quoting so her reference to Reelant Uppsala painting. Then in the main body of my is a non-existing person. text, I will describe the contents of the painting She writes: Among the earliest realistic European and relate these to details from other sources that drawings of Mecca are two examples, which can provide information about what the painting must be discussed here. The first was included in reveals. Finally, I will reflect on the influence of the expanded version of Adrian Reelant’s book, this painting on the development of later Mecca De religione Mohammedica libri duo, Defining representations. (p. 140) Ottoman Realism in the Uppsala Mecca Painting 6. Beyazit also tries to distort my article published in 1717 in Utrecht (fig. 6).31 It is the 16 K ASI M - N O VEM BER 2 0 2 0 e-mail from Deniz Beyazit 8 July 2014, asking confirmation on Reland. earliest known European attempt to portray the Great Mosque in Mecca with accuracy.32 Reelant, who had seen the Uppsala painting in 1714, decided to include a reproduction of it in his book. While the composition shows the rectangular sanctuary from a bird’s-eye view, similar to the Uppsala painting, only part of the Great Mosque is depicted. The most important buildings and elements are copied from the Uppsala painting, including the Ka’ba, the four maqāms, and even details such as openings with triangular pediments. While the drawing does not include any surrounding buildings or sites, pilgrims — portrayed as standing, walking, and praying— have been added to the composition. This drawing was widely circulated in Europe and was reprinted in several places, for example in the the Mahometans, published in London in 1731. In a footnote she presents her sources as follows: 31. Michael Eneman, who at that time was a professor at the University of Uppsala, had shown Reelant the Uppsala painting. Hadriani Reelandi (Adriaan Reelant), De religione Mohammedica libri duo (Utrecht, 1717), 119–28. In the same book is also included a drawing of Muzdalifa, which agai is a copy made after the Uppsala painting (ibid., 115). Michel Eneman at his return from his journey visited Reland on his trip back and showed the painting to Adriaan reland. The reader gets after reading this long passage the idea that Deniz Beyazit presents here results of her research: That she discovered the fact that Adrian Reland copied the painting. Atlas historique, published by Henri Chatelain and But that’s not true. The relation between Nicolas Gueudeville in 1719 in Amsterdam, and in Reland’s engraving and the Michael Eneman the third edition of Joseph Pitt’s work, A Faithful painting was for the first time discovered by Account of the Religion and Manners of me and presented in Leiden symposium 2013 K A S IM -N OV E M B E R 2 0 2 0 17 and later also in Uppsala in 2014, where mrs. seems to be repeating my conclusion from Beyazit was present. And written down in 2015. I quote from both, line for line in two my article in 2015, so that she was full aware. paralel columns. . (next page) So, how the honor for this scholarly relevant discovery should not be be given in a scholarly article to the original author? But Deniz does not refer to anybody. she presents this as her product. Deniz Beyazit was present in Uppsala where I presented this discovery. Beyazit later wrote an e-mail to me, 8 July 2014, for confirming about this Reland facts (in Turkish, see image of email page 16). But she does not give any credit in her article not to the Conference (5 may 2014) where she had first time about Reland connection, Not to the email (8 July 2014) where she checks with me the facts I had presented, and not to the publication (in 2015) where she had read the facts about Relands connection. This is a serious scholarly shortcoming and appropiating someone elses work, and misleading of scholarly community. 8. Main part of Beyazit’s article (p. 223-229) is description of Mecca painting. In my contribution in 2015 I had the approach: I followed the Hajj rituals and zooming on to certain places and describing them in relation to Hajj and urban fabric of Mecca. I had described this survey as follows: `”The survey starts in Arafat, the first location of Hajj,and follows the stations and rites of Hajj. It ends with an analysis of the Kaba and its captions4” In her contribution Beyazit follows this method without giving any credit to my description which she is imitating 9. The conclusive paragraph of Deniz Beyazıt 4 18 MT 2015 p. 142 K ASI M - N O VEM BER 2 0 2 0 Conclusions DB 2020 Deniz Beyazit 2020 Conclusions MT2015 Mehmet Tütüncü 2015 DB2020 : The Uppsala canvas is one of the MT2015 The Uppsala painting is a unique and most remarkable and sophisticated depictions extraordinary representation of Mecca and the Ka’ba. of Mecca known today. DB 2020: For many reasons, it marks a turning point in the history of depictions of the Ka’ba and Mecca. It is the first known painting of the Muslim holy site painted in a realistic illusionistic style and composed from a bird’seye view that depicts not only the sanctuary but also the surrounding urban landscape and other important sites in Mecca. MT: The painting is the first known threedimensional representation of Mecca and demonstrates what was at the time a revolutionary bird’s eye view. DB2020: Through the labeling of the many MT2015 In the painting, important buildings buildings and sites, the work also serves as and places are identified by small labels in red ink (legends), which give information about one of the earliest detailed maps of Mecca. their name and function. There are 75 of these captions in the painting, which are marked with numerals. P. 142. DB2020 However, the location of certain sites does not follow the cardinal system, but accords with the Ottoman tradition. My analysis shows that the architectural details share features with the Mamluk and Ottoman architecture of Cairo and also with the Hijaz and Mecca/Medina. Due to the naturalistic and realistic aspects of the work, future research might investigate to what extent the map can help illuminate the now lost buildings and sites in Mecca. MT 2015: No other illustrations of Mecca contains more or richer details about the urban network and city pattern than the Uppsala painting. P. 158. MT: The relevance of this painting has only recently been recognized by scholars. An important reason for this is that old Mamluk and Ottoman Mecca was destroyed completely by the Saudi guardians of the Holy City; this picture is indispensable to reconstructing and describing the Ottoman City. DB2020 The stylistic analysis and provenance MT 2015 It was probably made by a Muslim artist in Cairo and, after its purchase by of the painting point to Egypt as a possible Michael Eneman, arrived in Uppsala in 1714. source of production. K A S IM -N OV E M B E R 2 0 2 0 19 MT 2015: My research showed that because before 1717 not any reliable picture of Mecca was available in Western Europe, Uppsala painting served as a model for later engravings and illustrations. (p. 156-158, MT2015) First one is made in 1743 in Sweden some 30 years after the painting came to Uppsala and second one is from 1922-23 (see appendixes 7 and 8) it would be interesting to research how and why this paintings were produced. Deniz Beyazit comes (not) surprisingly to the same conclusion. DB 2020: My research suggests that the bird’s-eye view of the Uppsala painting and its composition with linear perspective was not inspired by European engravings or other models depicting the site of Mecca, as one might expect. (p. 236) Rather, the work is the result of the long, complex, and hybrid journey of Ottoman art towards realism, applied to a large-scale topographic landscape composition. This new, realistic style of depicting Mecca from a bird’s-eye view in an illusionistic manner was conceived around 1700. The design type exemplified in the Uppsala painting not only spread across several media in eighteenth-century Ottoman art, but also expanded beyond the borders of the empire, reaching Europe and East Asia, where comparable engravings and other depictions were created. In my article in 2015, I had written next remarks about the painting from 1922-23: In the Khalili collection, there is a copy of the Uppsala painting. In fact, the shape of the ountains and the streets are one-to one copy, the painting is signed by the hitherto unknown painter Shawkat and is dated 1341 AH (1922-23 CE). How he gained access to the ainting at Uppsla University in order to make a copy is a mystery (MT 2015, p. 158). In the article of Deniz Beyazit there is no one word about the first painting and more interesting the second painting by an Ottoman Artist, who had copied an another Ottoman painting 300 years later. This are points of research where she could had opportunities to contribute. She missed this all. But its not late she can still work on that axis further. 5. Concluding: So nearly everything that Deniz Beyazit has written down was already written by MT and published in the article in 2015, 5 years earlier. Deniz Beyazit presents a paper as an original work, in fact she plagiarizes (in different words) my article from 2015 and tries to diminish and depreciate the value of my article with subjective and suggestive methods, while appropiating many of my views and findings to herself. The article by To end this review not negatively I would like Beyazıt is a waste of paper for the otherwise to give a few suggestions for further research. respectable Muqarnas Journal. 10. The only point that Deniz Beyazit adds to my conclusions is some speculations about the possible patron In the absence of more evidence, we can speculate that this sophisticated painting and detailed map of Mecca and the Hajj was intended for a member of the diverse Ottoman ruling elite who had ties to Egypt and possibly controlled the Hijaz, its Muslim holy sites, and the Hajj. 11. Suggestions for Further research: There are at least 2 copies of Uppsala painting. 20 K ASI M - N O VEM BER 2 0 2 0 6. Appendixes: Appendix 1 (Programme Hajj Symposium Leiden) 28-29 November 2013 (3 pages) Appendix 2 (Programme Uppsala Workshop) May 5th 2014 (3 pages) Appendix 3 (Programme Istanbul Workshop) 20-21 April 2017 (2 pages) Appendix 4 (Programme Turkish Art Congress Naples 15-17 September 2015 (2 pages.) Appendix 5 (News Item in Turkish Daily Milliyet 21 April 2017 (1 page) Appendix 6 (Affiche Conference in Jedda Saudi Arabia 21 january 2015 (1 page) Appendix 7 (Painting from 1743 based on painting of 1713 in Uppsala University) (2 pages) Appendix 8 (Painting in Khalili Collections, based on painting of 1713 in Uppsala University) (2 pages) Appendix 9 (Catalogue entry Karen Adahl , Uppsala art Collections, 2001 (2 pages) Appendix 10 (Article by Mehmet Tütüncü Hajj Global Interactions through Pilgrimage Leiden 2015 (27 pages) K A S IM -N OV E M B E R 2 0 2 0 21 Appendix 1 (Programme Hajj Symposium Leiden) 28-29 November 2013 Symposium Hajj: Global Interactions through Pilgrimage 28 and 29 November 2013 Venue: Rijksmuseum Volkenkunde, Steenstraat 1, Leiden The symposium is organized on the occasion of the exhibition Longing for Mecca: the Pilgrim’s Journey (10 September 2013 -9 March 2014) on the Hajj to Mecca in Rijksmuseum Volkenkunde, which was developed in cooperation with the British Museum in London. The symposium starts with a reflection on the ‘Theory & Practice’ of the pilgrimage to Mecca from religious, anthropological, and material culture perspectives. This introductory session will contextualize two subsequent sessions: one involving case-studies concerning global interchange and interactions in material culture spurred by the Hajj, like the production of the kiswa (the textile covering the Ka’ba), pilgrim’s certificates and Hajj wall-paintings. Another session will be dedicated to case studies concerning transnational & local, social & political dimensions of the Hajj as well as issues concerning the meanings of pilgrimage for the religious lives and identity politics for individuals. The symposium will be concluded by an in-depth on-stage interview with two Dutch Hajjis and the 3rd Adrian Gerbrands lecture by Finbarr Barry Flood (New York University). The symposium is organised by the National Museum of Ethnology (NME), Leiden University Centre for the Study of Islam and Society (LUCIS), the Fund for Ethnology Leiden (FEL), Netherlands Interuniversity School for Islamic Studies (NISIS) and Institute of Cultural Anthropology and Development Sociology (CAOS) 22 K ASI M - N O VEM BER 2 0 2 0 Program Thursday 28 November 2013 9:30-10:00: Registration 10:00-10:15: Welcome by Stijn Schoonderwoerd, director Rijksmuseum Volkenkunde 10:15-10:45: Mohammed Cheppih (Radar and al-Kauthar) Mekka: 'a real dream ' 10:45-11:15: Léon Buskens (LUCIS, Leiden University) Useful knowledge made in Holland: Christiaan Snouck Hurgronje and the Dutch Tradition of Hajj Research and Policy Making 11:15-11:45: Coffee break 11:45-12:15: Marjo Buitelaar (Groningen University and NISIS) Anthropological approaches to the study of pilgrimage to Mecca 12:15-12:45: Venetia Porter (British Museum, London) The arts of Hajj (preliminary title) 12:45-14:00: Lunch 14:00-14:25: Nahla Nassar (The Nasser D. Khalili Collections of Islamic Art, London) The kiswah of the Noble Ka‘bah. Piety, prestige and politics 14:25-14:50: Mehmet Tütüncü (Research Centre for the Turkish and Arabic World, Haarlem) How a Kaaba Painting changed the Perspectives: The Uppsala University Kaaba and Mecca painting and its importance for the Cultural Historiography of Hajj 14:50-15:15: Oliver Moore (Rijksmuseum Volkenkunde and Leiden University) Islam’s Object Histories from China 15:15-15:45: Tea Break 15:45-16:10: Remke Kruk (Leiden University) Hajj murals in Dakhla oasis (Egypt) 16:10-16:35: Luit Mols (National Museum of Ethnology and LUCIS) Mecca and Medina in print: souvenirs and Hajj-certificates 16:35-17:00: Neil van der Linden (Author/editor Gulf Art Guide) Hajj Music 18:30: Dinner for speakers K A S IM -N OV E M B E R 2 0 2 0 23 Friday 29 November 2013 09:30-09:55: Sean McLoughlin (University of Leeds) British Muslim Experiences of the Hajj 09:55-10:20: Pnina Werbner (Keele University) Migrant Stories: Sacrifice, Purification and Gender in the Hajj 10:25-10:45: Robert R. Bianchi (Middle East Institute, National University of Singapore) The Hajj and Contemporary Politics in Turkey and Indonesia 10:45-11:15: Coffee break 11:15-11:40 Richard van Leeuwen (University of Amsterdam) Hajj and Islamic reformism: Rashīd Ridā’s journey to Mecca in 1916 11:40-12:05: Arnoud Vrolijk (Leiden University Libraries) Hajj collections in the Special Collections of Leiden University 12:05-14:00 Lunch and opportunity to visit the exhibition Longing for Mecca. The Pilgrim’s Journey 14:00-15:00: On stage interview with Famile Arslan (Arslan Lawyers) and Ali Eddaoudi (Dutch Military Force) on their experiences of the Hajj 15:00-15:30: The Steven Engelsman Grantees: Presentation of grant awards 15:30-16:00: Tea Break 16:00-17:00 The 3rd Adrian Gerbrands Lecture: Finbarr Barry Flood (New York University) Sanctified Sandals. Imaging the Prophet in an Era of Technological Reproduction 17:00-18:00: Drinks for all in the lounge café of the Rijksmuseum Volkenkunde 24 K ASI M - N O VEM BER 2 0 2 0 Appendix 2 (Programme Uppsala Workshop) May 5th 2014 ”The Image of Mecca” A Symposium at the Uppsala University Library May 5th, 2014 K A S IM -N OV E M B E R 2 0 2 0 25 Invitation Uppsala University Library, the Swedish Research Institute in Istanbul and Forum for Turkic Studies at Uppsala University are inviting to an international symposium on the important Mecka painting from the early 18th century in the Uppsala University art collections. ”The image of Mecca” The iconography, the topography and the pilgrimage Monday 5th May, 2014 at the Uppsala University Library ”Carolina Rediviva” In 1713 the young theologian Michael Eneman returned to Uppsala from his expedition to the Orient, the second expedition initiated by King Karl XII. Eneman brought a large image of Mecka painted in oil on canvas. This painting is the earliest known image of Mecka with the intention of giving an exact knowledge of the holy haram area and the surrounding urban context. The inscriptions in Arabic and Ottoman Turkish explaining the important buildings have now been read for the first time since the painting came to Sweden. New research on its provenance, but also on its artistic, iconographgic and topographic context will be presented and discussed. Opening of the symposium: Chief Librarian, Professor Lars Burman, Uppsala University Library , Carolina Rediviva Professor Jan von Bonsdorff, Department of Art history, Uppsala University Professor Eva Csato Johanson, Forum for Turkic Studies, Uppsala University Presentations: Deniz Beyazit, Ph.D, Curator Department of Islamic Art, Metropolitan Museum, New York Johan Heldt. Ph.D. cand, Forum for Turkic Studies, Uppsala University Mehmet Tütüncü, Chairman Research Centre for the Turkish and Arabic World in the Netherlands, Harlem Hans Nordesjö, Ph.Lic, former librarian Uppsala University Library Karin Ådahl, Ph.D, Assoc. Prof.,former director of the Swedish Research Institute in Istanbul. 26 K ASI M - N O VEM BER 2 0 2 0 Program 9.30 Registration and coffee 10.00 Opening of the symposium Chief librarian, Professor Lars Burman, Uppsala University Library Professor Jan von Bonsdorff, Department of Art History, Uppsala University, Professor Eva Csato Johanson, Forum for Turkish studies, Uppsala University 10.30 Karin Ådahl, Ph.D, former director of the Swedish Research Institute in Istanbul ”Michael Eneman and the expedition to the Orient. The history of the Mecca painting in the Uppsala University ”. 11.00 Johan Heldt, Ph.D.cand., Uppsala University ”Michael Eneman and Johan Silfwercrantz in Cairo in the spring of 1712”. 11.30 Deniz Beyazit, Ph.D, Department of Islamic Art, Metropolitan Museum, New York ”Exploring the Uppsala Mecca painting: Depicting in Western Fashion but Mapping the Hajj in the Eastern Mode”. Discussion 13.00 Lunch 14.30 Hans Nordesjö, Ph.Lic., former librarian at the Uppsala university library ”Reading the inscriptions of the Mecca Painting in the Uppsala University ”. 15.30 Mehmet Tütüncü, Chairman of the Research Centre for the Turkish and Arab world in the Netherlands, Harlem ”The Uppsala Mecca painting and its importance for the knowledge of the cultural topography and history of Mecca”. Discussion 16.30 Conclusion of the symposium K A S IM -N OV E M B E R 2 0 2 0 27 Appendix 3 (Programme Istanbul Workshop) 20-21 April 2017 The Mecca painting in the Uppsala University Aspects on early representations of Mecca and the Ka´ba in Ottoman art. Workshop at the Swedish Research Institute in Istanbul 20-21 April 2017 Program Thursday 20 April 9.30 Coffee 10.00 Opening of the seminar. Johan Mårtelius, director of the Swedish Research Institute Karin Ådahl, project leader Jan von Bonsdorff, Professor, Art history department, Uppsala university Introduction 10.30 Karin Ådahl – The Mecca painting in the Uppsala university and its context. Origin, iconographical aspects, and technical issues. Session I – Mecca – the holy religious centre, the hajj and the Uppsalapainting 11. 00 Mehmet Tütüncü – The Uppsala Mecca painting: A new source for the cultural topography and historiography of Mecca. 11.30 Meraj Mirza – Aspects on the Mecca painting in Uppsala university. 12.00 Round table Discussion. Chair: Jan von Bonsdorff 13.00 Lunch 28 Session II - The iconography of the Mecca representation 14.30 Deniz Beyazit – European or Ottoman? Exploring the Uppsala Mecca painting. 15.00 Sabiha Göloğlu – Representations of the Holy sites in prayer books. 15.30 Johan Mårtelius – The architectural representation in the Uppsala Mecca painting. 16.00 Coffee 16.30 Round table Discussion. Chair: Günsel Renda 17.30 Conclusions K ASI M - N O VEM BER 2 0 2 0 19.30 Dinner Friday 21 April 10.00 Visits to the Hekimoğlu mosque, the Turkish and Islamic Art Museum (TIEM) and the Başbakanlık Ottoman Archives. Lunch Discussion and Conclusions at the Swedish Research Institute Dinner Invited participants: Nurhan Atasoy, Professor Deniz Beyazit, Ph D, Metropolitan Museum, New York Jan von Bonsdorff, Professor, Uppsala university Sabiha Göloğlu, Ph.D cand Johan Heldt, Ph.D cand, Uppsala university Gül Irepoğlu, Professor, Istanbul Meraj Mirza, Professor, Mecca Günsel Renda, Professor, Koç university Zeren Tanindi, Professor, Uludağ university, Bursa Mehmet Tütüncü, Dr, Leiden Zübeyde Cihan Özsayıner, director Waqf Calligraphy Museum Ömer Faruk Şerifoğlu, dr, Art Historian, expert paintings at Dolmabahçe Museum Organizers: Johan Mårtelius, director, Swedish Research Institute Karin Ådahl, project leader K A S IM -N OV E M B E R 2 0 2 0 29 Appendix 4 (Programme Turkish Art Congress Naples 15-17 September 2015 Congress Locations in Naples Basilica of San Giovanni Maggiore Rampe San Giovanni Maggiore/ Via Mezzocannone Università degli Studi di Napoli “L’Orientale” Palazzo Du Mesnil - Halls 1-2 Via Partenope 10/A Biblioteca Nazionale di Napoli “Vittorio Emanuele Ill” Piazza del Plebiscito 1 Related Events Tuesday 15th September, h. 15.00 Biblioteca Nazionale di Napoli “Vittorio Emanuele Ill” Piazza del Plebiscito 1 Exhibition: La conoscenza del mondo islamico a Napoli (XVI-XIX secolo) The Islamic World through Neapolitan Eyes (Sixteenth-Nineteenth Centuries) Wednesday 16th September (Morning Session) 9.00 Registration 10.00 Plenary Session - Basilica of San Giovanni Maggiore Greetings by Elda Morlicchio 10.10 Greetings by H.E. Aydın Adnan Sezgin 10.25 Greetings by Roberto Tottoli 10.40 Greetings by Luigi De Magistris 10.50 Greetings by Hayati Develi 11.10 11.20 Rector of the University of Naples “L’Orientale” Ambassador of the Republic of Turkey in Italy Director of the Dipartimento di Asia Africa e Mediterraneo University of Naples “L’Orientale” Mayor of Naples President of the Yunus Emre Institute Opening Session - Basilica of San Giovanni Maggiore Frédéric Hitzel Chair of the French Committee of the 14th ICTA (Paris, Collège de France, 19th-21st September 2011) Greetings by François Déroche President of ICTA 30 K ASI M - N O VEM BER 2 0 2 0 11.30 Introduction to the Congress Michele Bernardini Friday 18th September (Afternoon Session) Palazzo Du Mesnil - Hall 1 Palazzo Du Mesnil - Hall 2 Biblioteca “Vittorio Emanuele III” Numismatic and Epigraphy (Chairman: Hakk Acun) The Decorative Arts (Chairman: Hüseyn Rahmi Ünal) Naples and the Ottoman World (Chairman: Michele Bernardini) 14.30 Ceren Ünal, H. Sibel Ünalan Çeşme Müzesi’nden Sikke Örnekleri Eşliğinde 12.-13. Yüzyllarda Kültürel Etkileşim ve Astrolojik Unsurlar 14.30 Seza Sinanlar Uslu Pera Salon Exhibitions (1900-1903) under the New Art Historical Interpretation 14.30 Güner Doğan The Elephant of the Sultan: The Diplomatic and Cultural Re between the Ottoman Empire a Naples in the Light of New Doc 14.50 Günnur Aydoğdu Ayyubid Coins on the Scale of the Kahramanmaraş Museum 14.50 İlona Baytar Three Sultans Three Styles: 19th-century Ottoman Palace Furniture 14.50 Lorenzo Ebanista The Image of the Turks in the Neapolitan Crèche between the 18th and 19th Century: The Case of the Marching Ban 15.10 Roberta Giunta The Islamic Inscriptions of the Turkish Dynasties in Iranian Territories (End of the10th-Beginning of the 13th Century) 15.10 Ece Zerman The Living Room as a “Family Museum”: Self-representation in the Domestic Interiors from the Late Ottoman Empire to the Early Turkish Republic 15.10 Carmine Romano The Neapolitan Crèche and the 15.30 Discussion 15.30 Discussion 15.30 Discussion 15.50 Break 15.50 Break 15.50 Break Material Culture (Chairman: Bruno Genito) Contemporary Architecture: Italy & Turkey (Chairman: Lea Nocera) The Representation of the “Other” (Chairman: Günsel Renda) 16.05 Sibel Klç Horse and Horse Adornments Among the Turkmen Tribes with their Sociocultural and Cultic Dimensions 16.05 Pelin Kotas Luigi Piccinato in Turkey 16.05 Pelin Şahin Tekinalp Italy As Seen Through the Ottoman Wall Paintings 16.25 Alptekin Yavaş Anatolian Seljuk Arrowheads: A Chronologic, Typological, Terminological and Metallurgical Analysis 16.25 A. Şevki Duymaz An Italian Architect in the Architectural History of the Republic of Turkey: Paolo Vietti-Violi 16.25 Mehmet Zeki İbrahimgil, Funda N 19. Yüzylda Floransa (Firenze Resim Ekolünün Balkanlar’da Osmanl Mimarisindeki Duvar Resimlerine Yansmalar 16.45 Discussion 16.45 Gül Cephanecigil Celal Esad Arseven and “A Journey Through Italy”: Reflections on the Travel Notes of an Art Historian 16.45 Deniz Artun Copying lngres: A Gaze from t Orient on the “Grande Odalisq 17.05 Discussion 17.05 Discussion 17.10 Break 17.10 Break 17.10 Break Interior Decoration (Chairman: Tadeusz Majda) 19th and 20th Century (Chairman: Zeynep Yasa) The Mecka Painting in the Uppsala University Library (Chairman: Michele Bernardini) 17.20 Ekin Akaln Representations of Istanbul Wall Paintings 17.20 Ahu Antmen A Promising Young Levantine of the Ottoman Art Scene: Lina Gabuzzi 17.20 Karin Ådahl The Mecka Painting of 1711: Architectural Representation 17.40 Bilge Ar Ottoman Mural Paintings of Hagia Eirene in Istanbul 17.40 Ayşenur Güler A Turkish Female Artist Leaving her Trace through the 20th Century: Sabiha Rustu Bozcali (1903-1998) 17.40 Johan Mårtelius A Birds Eye View of Mecka 18.00 Büke Uras Decoration for the Empire “Art of Bedros Sirabyan Kalfa (1833-1898)” 18.00 Ali Kayaalp The Representation of Islamic Religion and Religious Clergy in Osman Hamdi Bey’s Paintings 18.00 Mehmet Tütüncü The Uppsala University Paintin and its Importance for the Dev of Mecka Images 18.20 Discussion 18.20 Discussion 18.20 Discussion 18.30 End of Session 18.30 End of Session 18.30 End of Session K A S IM -N OV E M B E R 2 0 2 0 31 Appendix 5 (News Item in Turkish Daily Milliyet 21 April 2017 32 K ASI M - N O VEM BER 2 0 2 0 Appendix 6 (Affiche Conference in Jedda Saudi Arabia 21 january 2014 K A S IM -N OV E M B E R 2 0 2 0 33 Appendix 7 (Painting from 1743 based on painting of 1713 in Uppsala University) 34 K ASI M - N O VEM BER 2 0 2 0 Copy from 1743 Ex archetypo Reg: Bibliothe: Upsal: pinxit Iahannes Petri Mortenson Uppsaliae 1743. Bird’s euye view of Mecca. Penteckening aquarel, gouache op papier 60x47 cm NMH THC 696, transfered from 1866 from Kings Library K A S IM -N OV E M B E R 2 0 2 0 35 Appendix 8 (Painting in Khalili Collections, based on painting of 1713 in Uppsala University) 36 K ASI M - N O VEM BER 2 0 2 0 K A S IM -N OV E M B E R 2 0 2 0 37 Appendix 9 (Catalogue entry Karen Adahl, Uppsala Art Collections, 2001 38 K ASI M - N O VEM BER 2 0 2 0 K A S IM -N OV E M B E R 2 0 2 0 39 Appendix 10 (Article by Mehmet Tütüncü Hajj Global Interactions through Pilgrimage Leiden 2015 Hajj Global Interactions through Pilgrimage Sidestone edited by Luitgard Mols & Marjo Buitelaar 43 e d e d e for l i nMehmet g e n v Tutuncu a n h e ([email protected]) t R i j k s m u s e u m v oTransaction: o r V o l k0004278329 enkunde, PreparedM exclusively 40 K ASI M - N O VEM BER 2 0 2 0 Leiden T HE U PPSALA M ECCA P AINTING : A N EW S OURCE FOR THE C ULTURAL T OPOGRAPHY AND H ISTORIOGRAPHY FOR M ECCA Mehmet Tütüncü Images of Islam’s holiest place, the Ka’ba and the city of Mecca, have been very popular throughout the centuries. These images have been put on different materials, such as stone, ceramics, paper, and cloth (Blair 2013: 160–168). The Hajj exhibition Longing for Mecca, the Pilgrim’s Journey held at the National Museum of Ethnology in Leiden exhibited many samples of representations of the holy city of Mecca and the Ka’ba.1 A key piece was a particularly important and special eighteenth-century painting from the Uppsala University collection in Sweden, of which no other comparable contemporary drawings exist (Mols 2013: 120–121). The painting by an unknown artist appears to be a realistic and astonishingly exact drawing of Mecca and the Ka’ba in the years 1710–1712 (figure 1). It contains unique and very important information about the cultural topography of Mecca and its urban fabric at the beginning of the eighteenth century. The painting shows a topographical view of Mecca with the Great Mosque in the centre, the houses immediately surrounding it, the different neighbourhoods of the city, and the surrounding hills and mountains. The street patterns of Mecca can easily be recognised, as can many buildings that are marked by a red brush to identify their names. In the middle of the large open court of the Great Mosque stands the Ka’ba, the holiest sanctuary of Islam. The painting (oil on canvas, H 85 x W 111 cm without frame, H 93 x W 119 cm with frame, inv. nr. UU2372) was purchased by Uppsala University in 1717 from the estate of the Swedish theologian and orientalist Michael Eneman (1676–1714). Eneman, an envoy of the Swedish King Charles XII (1682–1718) in Istanbul, probably acquired the painting in Cairo in 1712.2 He travelled in 1 2 This chapter is based on preliminary research on the Uppsala painting, the first results of which I presented at the Hajj: Global Interactions through Pilgrimage symposium in November 2013 at the National Museum of Ethnology in Leiden and at a symposium organised by Karin Ådahl on 5 May 2014 at Uppsala University entitled The Image of Mecca. The Pilgrimage, the Topography and the Iconography. I would like to thank Luitgard Mols, one of the organisers of the Leiden symposium and curator of the exhibition, as well Karin Ådahl, the organiser of the Uppsala symposium, for allowing me to study the painting and for their generous support during my research. On the basis of Silfwercrantz’s unpublished diary, Johan Heldt from Uppsala University has discovered that the painting was acquired by Michael Eneman’s companion Johan Silfwercrantz in Cairo in March 1712. (Johan Heldt, Oral Presentation at the Image of Mecca symposium, Uppsala University, 5 May 2014). 137 Prepared exclusively for Mehmet Tutuncu ([email protected]) Transaction: 0004278329 K A S IM -N OV E M B E R 2 0 2 0 41 H��� ’ž›ŽȱŗDZȱ‘Žȱ™™œŠ•ŠȱŽŒŒŠȱ™Š’—’—ȱ ’‘ȱ—ž–Ž›Š•œȱ’ŸŽ—ȱ‹¢ȱǯȱûû—Œûǯȱ™™œŠ•Šȱ —’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ Egypt and Syria between 1711 and 1713 to collect oriental manuscripts and to explore commercial prospects. When he returned to Istanbul in 1713, he was informed that he had been appointed professor of oriental languages at Uppsala University, after which he returned to his home country. On 5 August 1714, Eneman arrived on Swedish soil and immediately went to Uppsala. His travelling, however, had seriously injured his physical condition, and, shortly after his installation as professor on 26 September, he caught a cold and died on 7 October 1714. The painting was purchased from his estate in 1717 by Uppsala University. The Uppsala representation of Mecca is unique because it is painted with oil on canvas, a technique that was rarely used in the Islamic world in this period. It might be the first oil-painting created by a Muslim artist. Its unusually detailed and correct depiction of Mecca in the beginning of the eighteenth century is of a unique quality. Equally revolutionary is the use of the so-called ‘bird’s eye view’, which was first developed in Europe during the Renaissance, which allowed the immediate visual comprehension of a large space. It was the first time that a Muslim artist introduced this perspective for depicting Mecca. The painting probably also served as a model for later European images of the Ka’ba (e.g. Reland 1717, discussed below). Despite its tremendous importance for our historical knowledge of Mecca and the Hajj, research on the painting has 42 K ASI M - N O VEM BER 2 0 2 0 T������ ’ž›ŽȱŘDZȱ‘ŽȱŽŠ›•¢ȱ‘’›ŽŽ—‘Ȭ ŒŽ—ž›¢ȱœ•Š‹ȱ›˜–ȱ˜œž•ȱǻŠŽ›ȱ ›’”ŠȱŗşŝŜDZȱęǯȱŝřǼǯ ’ž›ŽȱřDZȱ ŠȂ‹Šȱ›Ž™›ŽœŽ—Š’˜—ȱ ˜—ȱŠȱ’•Žȱ™Š—Ž•ǰȱŠŽȱŗŖŝŝȱ ȱ ǻŗŜŜŜȮŗŜŜŝȱǼȱ›˜–ȱ˜™”Š™Íȱ Š›Š¢ȱ’—ȱ œŠ—‹ž•ǯȱ‘˜˜ȱǯȱ Tütüncü. K A S IM -N OV E M B E R 2 0 2 0 43 H��� only just begun.3 The Swedish scholar Erik Gren wrote in 1945: ‘This, without any doubt, is the greatest treasure that Eneman brought back, and it is quite remarkable that it should still not have been published, even though its great value always has been appreciated’.4 Also, Karin Ådahl has lamented ‘Today fifty years later, the painting has still not been made the subject of any scholarly study’ (Ådahl 2001: 256). In this study of the painting, I will first briefly discuss Mecca representations that preceded the Uppsala painting. Then in the main body of my text, I will describe the contents of the painting and relate these to details from other sources that can provide information about what the painting reveals. Finally, I will reflect on the influence of this painting on the development of later Mecca representations. Representations of the Ka’ba before 1712 The earliest surviving illustration of the Ka’ba appears on a Hajj certificate, now in the collection of the Turkish and Islamic Arts Museum in Istanbul. It is dated 589 AH (1084 CE) (Aksoy & Milstein 2000: 104). Pilgrims who had fulfilled their Hajj duty could buy such Hajj certificates, which, from the twelfth century onwards, were illustrated with the Ka’ba and Holy places surrounding it. These certificates served as proof for pilgrims of their Hajj travels, as Luitgard Mols demonstrates in her chapter on printed Hajj-certificates in this volume. Other representations on paper of Mecca and the Ka’ba can be found in illustrations for the guides used by pilgrims for orientation during the Hajj. Images of the Ka’ba and the Masjid al-Haram (Great Mosque) also appeared in other media. A very famous Ka’ba representation was found on an earlythirteenth-century stone slab from Mosul, now in the Iraq Museum in Bagdad (figure 2). In the centre of this much studied slab the Masjid al-Haram, the Ka’ba, and several buildings surrounding the mosque are schematically carved (Strika 1976: fig. 73; Blair 2013: 163; Juvin 2010: 499). From the second half of the seventeenth century to the first half of the eighteenth century, depictions of the holy sites appeared on tiles and tile panels (figure 3). These tile panels often portrayed the minarets, doors, and domed galleries of the Great Mosque, as well as the multiple small buildings that surrounded the Ka’ba (Maury 2013: 143– 159). Common to all these Ka’ba illustrations is that they are simple schematic drawings that combine ground plan and elevation but lack any real perspective or depth. They all sketch the basic lines of the Great Mosque but nearly nothing of the city around it. For the topography of the city of Mecca, they are therefore 3 4 44 Hans Nordesjö, one of the contributors of the Uppsala University Image of Mecca symposium, studied the red captions of the painting and submitted his findings on 2 April 2014 to the Uppsala University repertory. My readings presented during the Hajj symposium in Leiden in November 2013 differ in some respects from those of Hans Nordesjö. Translation by Ådahl (2001: 256). K ASI M - N O VEM BER 2 0 2 0 T������ ’ž›ŽȱŚDZȱ‘Žȱ˜›’Ž—Š’˜—ȱ˜ȱ‘Žȱ™™œŠ•Šȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ of little importance. This traditional style of painting Mecca and the Ka’ba would change dramatically with the Uppsala painting (figure 4). The Uppsala Painting and Its Captions The Uppsala painting is orientated from the perspective of Mount Sha`b Ali, northwest of the Ka’ba. This mountain provides an excellent view of the Ka’ba and Mecca, and it looks to the sa’i area, where the rite of running between the hillocks of Safa and Marwa takes place, and the northern facade of the Masjid al-Haram. In the drawing, south is in the upper right of the canvas, and north in the lower left. Mount Arafat is correctly drawn to the southeast of Mecca, as is Jeddah, which is painted to the west. Also the road to Arafat is realistically rendered, as it goes to the north first and then bends sharply to the east. Nowadays except for the Ka’ba, all buildings and places from historical Mecca have vanished. This makes the painting particularly important because it provides information about the buildings that were destroyed during the uprisings in the nineteenth century and modernisations of the twentieth century K A S IM -N OV E M B E R 2 0 2 0 45 H��� (Krieger 2013; Nasrawi 2007).5 The painting depicts a view of the Holy City after the Ottoman rebuilding period of the sixteenth century. The painter has tried to show the town planning and street patterns. The old Meccan districts were densely inhabited and the houses reached the exterior walls of the Great Mosque. What is further striking is the complete absence of any human being in the painting. This indicates that the painting was probably intended for a qibla wall (the wall in the direction of Mecca) in a mosque. Depicting human beings in a religious context is prohibited in Islam, so that people who pray are not distracted. In the painting, important buildings and places are identified by small labels in red ink (legends), which give information about their name and function. There are 75 of these captions in the painting, which are marked with numerals, in figures 1, and 5 to 14 for easy reference. Prayer places and important holy buildings in the city are painted with green domes. The domes of profane buildings like public baths (hammams) are coloured grey. This indicates that the painter was well informed about the nature of the buildings that he drew. The houses have flat roofs and are painted in white or grey colours. The houses mostly consist of two floors, while some have an additional third floor. Official and governmental buildings are four or five stories high. Below I will survey the whole painting with caption numbers in brackets. A description of the object or building, with references and observations from older sources, is added and is followed by an appendix with a list of legends. The survey starts in Arafat, the first location of Hajj, and follows the stations and rites of Hajj. It ends with an analysis of the Ka’ba and its captions. Arafat, Muzdalifa, and Mina (figure 5) At the top left corner of the frame (topographically south-east of Mecca), it is written (1) Cebel-i Arafat (Mount Arafat). Arafat is a large plain surrounded by mountains, some 25 kilometres from the Ka’ba. It is said that the Hajj is Arafat, because the most important rite of the Hajj takes place there. Pilgrims must reach Arafat by midday prayer on the ninth day, or yawm al-wuquf (the ‘day of waiting’ or ‘standing’) of the month of Hajj (Dhu al-Hijja). From noon till sunset pilgrims are required to remain and 5 46 The destruction of the old cities of Mecca and Medina was done after the 1973 oil crisis, when the Saudis had become financially independent. With the oil money they started great building activities under the pretext of needing to host large numbers of pilgrims. To accommodate the pilgrims and to extend the holy mosque, all the buildings of the old city were completely wiped out despite all cultural, historical, or archaeological arguments. Many people suspect that this was done by the Saudi authorities for religious reasons, to prevent the preservation of historical buildings that might lead to polytheism. They destroyed also all tombs and tombstones and flattened the cemeteries. From historical Mecca and Medina nothing remains except the Ka’ba and the Prophet’s Mosque. K ASI M - N O VEM BER 2 0 2 0 T������ ’ž›Žȱśǯȱ›ŠŠǰȱž£Š•’ŠǰȱŠ—ȱ’—ŠǰȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ —›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ pray in Arafat. According to tradition, it was here that the Prophet Muhammad delivered his farewell speech. Two pools that receive their water from the source Ayn Zubayda have been included in the painting. Also, next to mountain Arafat, a building with four or five domes can be observed. This is the (2) Matbah, the ‘kitchen’, which no longer exists. The matbah in the drawing is surely the one mentioned by K A S IM -N OV E M B E R 2 0 2 0 47 H��� the seventeenth-century Ottoman traveller Evliya Çelebi as Mescid-i Matbah-ı Hazret-i Adem, that is, The Mosque of the Kitchen of Adam:6 Adam and Eve were reunited here after a long period of separation following their expulsion from Paradise. It is here where they are said to have been taught how to prepare soup. So it is tradition that rich people make fire and cook here, and distribute their food to the poor people. The later rulers built a mosque which has no minaret, and which can accommodate 200 (praying) people. (Evliya Çelebi 2005: 356) Leaving Arafat the pilgrim passes two pillars, the (4) Mileyn (‘two milestones’), which mark the boundaries of the sacred territory of Arafat. In total six such milestones can be seen in the painting. On the tenth day of Dhu al-Hijja all pilgrims must make sure to be inside the territory marked by these milestones. If they stay outside, then the Hajj is not valid. Further to the right is the (3) Mescid-i İbrahim (the ‘Mosque of Abraham’), also called Masjid al-Namira. Pilgrims pray here after they stand and pray at Arafat. This mosque is situated just outside the border of Arafat and, in the painting, is rightly portrayed beyond the milestones. The next stop is (5) the open plain of Muzdalifa (Turkish: Müzdelife), where a large mosque with a minaret is located. Muzdalifa is situated between Mina to the east and Arafat to the west and is surrounded to the north and south by mountains. After sunset on the day of the rite at Arafat, pilgrims proceed to Muzdalifa. Here they spend the night praying or sleeping after having collected pebbles for the next day’s rite of stoning the Jamarat, the pillars at the site where Shaytan (‘Satan’) is believed to have tempted the Prophet Abraham into leaving his faith. Downwards from Muzdalifa is (10) Mina. In the painting we can see a mosque with two minarets, the (11) Mescid-i Hayf (the al-Khayf Mosque), where, according to tradition, the Prophet prayed. To the right of the mosque is a smaller domed building (12). This is the Mahall-i Nüzul-i ‘Ve’l-Mürselât’, or ‘the place where [the sura] Wa-’l-Mursalat was revealed’ (i.e. Qur’anic verse 77:1, which reads ‘By those sent forth in swift succession’). To the right of Muzdalifa, (6) a village called Hüseyniye (Husayniyya) is depicted in an oasis about twenty kilometres south-east of Mecca. The painter has placed this village halfway between Mecca and the pilgrimage sites. To the 6 48 Evliya Çelebi was born in 1611 in Istanbul and died in Egypt in 1685. He travelled far and wide across the Ottoman Empire and neighbouring areas and wrote extensively about his travels in his Seyahatname (The Book of Travels). It is the longest and most detailed travel account in Islamic (if not world) literature. It is a vast panoramic description of the Ottoman world and is a unique source for reconstructing the Ottoman Empire’s social and cultural life in the mid-seventeenth century. Volume 9 of Seyahatname is dedicated to Evliya’s Hajj voyage. He starts his journey in May 1671 in Istanbul and reaches Damascus in January 1672. From there, he joins the pilgrimage caravan of Damascus. The pilgrimage month that year—Dhu al-Hijja 1082 AH—corresponds to April 1672. After performing his duty, Evliya joins the caravan of the Egyptian pilgrims, who leave immediately after the Hajj ritual to travel across the Red Sea to Cairo. K ASI M - N O VEM BER 2 0 2 0 T������ left of the mosque, one can see (7) Cemre-i Evvel, the first of three pillars where the ritual throwing of pebbles to symbolise the stoning of Satan takes place. Then follows the second pillar, (8) Cemre-i Sani, and, at the border of the painting, the third, (9) Cemre-i Salis. According to tradition, Satan is stoned because he wanted to prevent the sacrifice of Ishmael. The place where the sacrifice was to take place is indicated at the edge of the painting, (24) Mahall-i Zebh-i İsmail (place of the sacrifice of Ishmael). Down from Mina on the way to Mecca is a mosque, (13) Mescid-i Aşere, which nowadays is also called Masjid Aqaba, after the largest of the three stoning-pillars, or Masjid al-Bay`a, where the Prophet Muhammad received the oath of allegiance from the people of Medina. This mosque still stands before the entrance to the pillars. Number (14) is the Mahall-i Șakk ul-Kamer (or Mahall Shaqq al-Qamar in Arabic, the ‘Place of the Splitting of the Moon’), a reference to Qur’anic verse 54:1, a miracle ascribed by some commentators to the Prophet Muhammed. To the left of the sanctuary, on a prominent mountain with a domed mosque or memorial, is (15) Cebel-i Ebu Kubeys (the ‘Mountain of Abu Qubays’), where the Black Stone may have been kept for some time, originally or during a flood. Cidde (Jeddah) (figure 6) Above the central part of the sanctuary (fig. 6) there are two captions: (18) refers to the birthplace of Abu Bakr (Mahall-i Mevlud-ı Ebu Bekir), the successor to the Prophet Muhammad and first caliph of Islam. The other caption, (17), is located above the first one and indicates the place of Burke-i Yemeniye. This ’ž›ŽȱŜDZȱ ŽŠ‘ǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ K A S IM -N OV E M B E R 2 0 2 0 49 H��� is the Yemeni water reservoir, where the Yemeni pilgrims gathered and stayed during the Hajj period. Some tents are also depicted. Two other reservoirs for the Hajj caravans, the (38) Damascus one and the (39) Egyptian one, together with their pools and camping places, have also been included in the painting. The city of Jeddah is painted to the upper right-hand corner of the painting (topographically to the west). The road to Jeddah starts in a small village (28) named after Şeyh Mahmud (Shaykh Mahmud), a holy person. Şeyh Mahmud’s shrine is depicted with three domes. According to Evliya Çelebi, Şeyh Mahmud’s resting place is under a low dome. It is on the south direction from Mecca. There are 200 poor houses and palm trees, and a few masjids (mosques) (Evliya Çelebi 2005: 407). A (29) fountain or Sebil under a domed building is shown near the frame of the painting, slightly below the village of Şeyh Mahmud. This Sebil-i Mahmud could be the Sebil-i Kızlarağası near the Market of Lahza that is described by Evliya Çelebi (2005: 397). From here to Jeddah, it is some 70 kilometres. While the scale is clearly distorted towards the left and right corners of the painting, the locations and directions are correct. Evliya Çelebi writes in his Seyahatname (The Book of Travels) about the road to Jeddah ‘In the south there are a few coffeehouses’ (Evliya Çelebi 2005: 407). The coffeehouses, referred to as (20) Kahve, are also present in the painting. The (21) small fort and village Hudde is also shown, about which Evliya Çelebi writes ‘It is six hours travels to Wady Hudde. In former times it was a grand city but nowadays it only consists of a few coffee houses’ (Evliya Çelebi 2005: 407). Outside the fort in Hudde, some dwellings and also some tents are drawn, which may indicate the camping site of pilgrims who arrive to Jeddah by sea and travel to Mecca by land. In the upper-right-hand corner of the painting, one can see the (22) Sebil-i Ahmed Bey (the ‘Fountain of Ahmad Bey’), which the pilgrims would pass by before arriving in Jeddah. The (23) port of Cidde (Jeddah) is also shown near this corner of the painting. Jeddah is painted with outer fortifications but without any details. But an observer of the painting will at least learn how the road to Jeddah runs and what one can expect upon arriving in Jeddah. The mountains around Mecca (figures 6, 8 and 10) The mountains that surround Mecca are painted in an unrealistic and inaccurate way, looking more like a sea of sand dunes. They all have the same shape and lack distinctive characteristics. Only some mountains are identified by name. On the right side of the painting, the uppermost mountain is (26) the Cebel-i Güzel (‘The Beautiful Mountain’, fig. 8), which is also known under different names: al-Ahmar (‘the Red’), al-A`raf (in pre-Islamic times), and Jabal Hindi. Even further to the right is (16) Cebel-i Sevir ( ‘the Bull Mountain’). This mountain 50 K ASI M - N O VEM BER 2 0 2 0 T������ rises from a desert of small mountains depicted in the upper part of the painting. It is known for the cave in which the Prophet took refuge with Abu Bakr at the beginning of his Hijra, or emigration from Mecca. Near the frame on the left, under a domed building on a very steep mountain, there is caption (49) that ends with the word nur (‘light’) (fig. 10). The beginning of the caption may read Makam or Maqam, that is, ‘place’ or ‘station’. The caption may refer to the Cebel-i Nur (‘the Mountain of Light’), which is the place where the first revelation of the Qur’an, sura 94, is believed to have occurred. This mountain is situated to the north of Mecca. To the left of the uppermost minaret at the right side of the painting is the mountain of Umar with a (19) domed building called Mevlud-ı Seyyidina Ömer (‘the birthplace of our lord Umar’) (fig. 6). This refers to Umar ibn al-Khattab, the second caliph. According to Johann Ludwig Burckhardt, this building was destroyed by the Wahhabis (Burckhardt 1829: 207). Zawiyes and Sufi tarikats: dervish lodges (figure 7) The right lower corner (north) of the painting is filled with a variety of buildings, pools, cemeteries, cupolas, and mosques. A street from the gate Bab üs-Selam-ı Cedid of the Great Mosque leads out of Mecca. In reality this street is the road ’ž›ŽȱŝDZȱžȽŠ••ŠȱŠ—ȱžęȱ—Ž’‘‹˜ž›‘˜˜ǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ K A S IM -N OV E M B E R 2 0 2 0 51 H��� that runs to Mina and Arafat. Just outside Mecca, there are the two water pools that I mentioned earlier in the text. The one on the left (38) is named Burket el-Şami, ‘the Syrian reservoir’, and the one on the right (39) is Burket-i Mısri, ‘the Egyptian reservoir’. On the map of Mouradgea D’Ohsson7 they are named Scham-Burkessy nr. 20 and Missir-Burkessy nr. 31.8 But D’Ohsson has located the pools on the lower-left corner (east of Mecca), which is actually wrong. Near the pools, the tents where the contingents of pilgrims from Damascus and Egypt would have stayed are also painted. The road here turns to the left, makes a U-turn, and continues to Arafat to the south-east of Mecca. Above the two water reservoirs indicating the camping sites of Damascus and the Egyptian contingents of pilgrims, one building with a minaret and another adorned by a cupola are depicted. The captions on these buildings are also difficult to read. The one on the left (35) ends in Ahmediye, and the one on the right (36) may end in Kadiriye. My conjecture would be that these buildings were centres for the Sufi orders of the Ahhmediye (perhaps a branch of the Khalwatiyya or Halvetiye) and Kadiriye. Below and to the left of the reservoirs of the Damascus and Egyptian camping sites is the Mevlevihane (44) (‘the house of the Mevlevi dervishes’). This Mevlevihane is described by Evliya Çelebi as follows: Inside the city of the Ka’ba there are 78 convents of dervishes. They welcome as guests poor persons. But the best place is the convent of Mevlana near the Mu`alla, which is a paradise-like place with a great garden, it has a sema and safahane (places where music and dances of the whirling dervishes were executed) as well as many rooms where people could stay, it has water fountain pools, and a sebil. It is a place where you can have a pleasant stay. All the notables from Mecca and learned persons from Bekke come to watch the Mevlevi rituals here. This convent was established by Dervish Muhammad from Hind and Lahore with the permission of Mevlanazade Çelebi Efendi from Konya. (Evliya Çelebi 2005: 399) Ma`la and its surroundings Right below the pools on the foot of a mountain is the great cemetery of Ma`la or Mu`alla, where many family-members of the Prophet and important figures in early Islamic history were buried. In the lower corner on the right-hand side 7 8 52 Ignatius Mouradgea D’Ohsson (31 July 1740–27 August 1807) was an Ottoman-Armenian orientalist, historian, and diplomat in Swedish service. In 1768 he was supreme interpreter and elevated to the Swedish nobility. He is the author of the famous 1788 Tableau Général de L’Empire Othoman and has published very famous Mecca engravings that were drawn by French engraver l’Espinasse. D’Ohsson 1788: pl. 45, Vue de La Mecque, nr. 30 Sham-Burkessy (pool of the Syrians) and nr. 31 Missir Burkessy (pool of the Egyptians). K ASI M - N O VEM BER 2 0 2 0 T������ of the painting in the cemetery is (43) a building with an inscription that is difficult to read, but which refers to the grave (kabr) or mausoleum (makam) of Hatice (Khadija), the first wife of Muhammad. Outside the cemetery there are four buildings with cupolas. The second from the left (41) is the Merkad-ı Ebu Talib (‘the Tomb of Abu Talib’), the uncle of Muhammad and father of Ali. The building to the right (42) is Mescid-i Cinn (the ‘Mosque of the Jinn’). Further to the right we find two buildings in front of the right-hand reservoir. The inscription on the upper one is easier to read: (40) Serdar-ı Müstahfızan (the ‘Place of the Head of the Guards’). At the time of Ali Bey, these were the barracks of the ‘Negro and Mogrebin’ guards (Ali Bey 1816: 119). Hammams (figures 8 and 10) On the north-western side of the sanctuary, a caption on a cupola (27) reads Makam-ı Aydarus, ‘the Station of Aydarus’, probably a holy man. A few houses down (north) of this station is (25) Hammam-ı Umre (‘the Umra Bath’). It is so named because it is located near the Umra Gate of the Great Mosque. The ’ž›ŽȱŞDZȱ Š––Š–ȬÍȱ–›Žȱǻ‘Žȱȁ–›Šȱ‘Š––Š–ȂǼȱŠ—ȱŽœȱšžŠ›Ž›œǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ K A S IM -N OV E M B E R 2 0 2 0 53 H��� ’ž›ŽȱşDZȱ‘Žȱ‘Š›’Ȃœȱ™Š•ŠŒŽȱŠ—ȱ—˜›‘ȬŽŠœȱ—Ž’‘‹˜ž›‘˜˜œǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ name Umra refers to the so-called ‘lesser pilgrimage’ to Mecca, which may be undertaken at any time of the year. The Umra bath is mentioned by Burckhardt, but it was destroyed during the expansion of the Haram in 1970 (Burckhardt 1829: 250–251). The other bath, which was located in the north-east quarters of Mecca, is the (48) Hammam ün-Nebi (‘the bath of the Prophet’) (fig. 10). It derived its name from its location near the (50) Birthplace of the Prophet (fig. 10). This was the Ottoman hammam of Sultan Süleyman. According to Evliya Çelebi, who refers to it as Hammam-ı Kuşaşiye (‘The Bath of the Qushashiyya [Quarter]’), the bath was designed by the famous architect Sinan (c. 1490-1588) (Burckhardt 1829: 110). The bath had an inscription from the year 970 AH (1562 CE) (Uluengin 1988: 347). The road to Arafat (figure 9) and the birthplaces of the Prophet and his family (figure 10) After passing two pools and the Mevlevihane on the road to Arafat, we come to a garden with a palace (45) that is separated from the Holy City by a hill. This palace is the biggest building of the painting. The inscription on it ends in Vezir (‘minister’). This is probably Qasr al-Wazir, palace of the vizier or Sharif of Mecca; it is a big palace garden and has palm trees. In old maps a palace of the Sharif was located to the north-east. In his plan of Mecca, Christiaan Snouck Hurgronje mentions under nr. 42 the Sommergarten der Scherife (‘summer garden of the Sharifs’) on the road to Mina and Arafat. (Snouck Hurgronje 1888: Map 1). In his plan, under nr. 59, Burckhardt lists ‘a garden and a pleasure house of the sharif. The garden is enclosed by high walls and towers’ (Burckhardt 1829: 185). 54 K ASI M - N O VEM BER 2 0 2 0 T������ ’ž›ŽȱŗŖDZȱ‘Žȱ˜›‘ȬŽŠœŽ›—ȱ šžŠ›Ž›œǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ —’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ In the quarters to the north-east of the sanctuary there are two buildings with ’ž›ŽȱŗŗDZȱ‘Žȱ’›‘™•ŠŒŽȱ˜ȱ‘Žȱ›˜™‘ŽDZȱ˜ȱ‘Žȱ•ŽȱŠȱŽŠ’•ȱ›˜–ȱ‘Žȱ™™œŠ•Šȱ™Š’—’—Dzȱ˜ȱ‘Žȱ ›’‘ȱŠȱŽŠ’•ȱ˜ȱŠȱ™‘˜˜›Š™‘ȱ›˜–ȱ‘Žȱ‹Ž’——’—ȱ˜ȱ‘Žȱ Ž—’Ž‘ȱŒŽ—ž›¢ǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ K A S IM -N OV E M B E R 2 0 2 0 55 H��� cupolas (figure 10). One (47) is the birthplace of Fatma (Fatima), the daughter of Muhammad and wife of Ali, the fourth caliph. Only the word ‘Fatma’ can be clearly recognised in the caption. This building was also known as Dar Khadija (‘House of Khadija’), the first wife of the Prophet. After his wedding the Prophet moved to this house. Under the birthplace of Fatma or Khadija’s House is (46) Menzil-i Ebu Bekir (the ‘House of Abu Bakr’), the first caliph. The birthplace of the Prophet Muhammed, which is marked as a mosque with a cupola and a minaret, is (50) Mevlud ün-Nebi, the Birthplace of the Prophet. This house where the Prophet Muhammad was born has since been knocked down; nowadays, the library of Mecca is situated on this site. A photograph (figure 11) of this building from the beginning of twentieth century shows similarities with the domed structure in the painting.9 Beyond the three houses that are depicted above the birthplace of the Prophet, there is another domed building (52) called Mevlud-ı Ali (the ‘Birthplace of Ali’). Burckhardt refers to it as the Mouled Imam Aly in the quarter called Shab Aly (Burckhardt 1829: 312–313). This is a small shrine, the floor of which has a hole that marks the spot where Ali, the son-in-law of Muhammed, is said to have been born. Slightly to the right of the minaret of the Prophet’s House (50) is the inscription (51) Dar el-Hayzuran, the ‘house of Khayzuran’, mother of the Caliph Harun al-Rashid, who bought the house where the Prophet Muhammad had his first secret meetings with his followers and which he turned into a place for praying. Safa and Marwa (figures 12 and 13) One of the Hajj rites is the sa’i, the walking back and forth seven times between the former hillocks of Marwa and Safa in imitation of Hagar’s walking through the desert in search for water for her baby Ishmael. The sa’i course has been included in the painting as follows: the triple-arched building to the left or south is the (53) Makam-ı Safa (the ‘Station of Safa’), and the arched, roofless building to the right or north (34) is Makam-ı Merve (the ‘Station of Marwa’). The building with iron grills between (59) and (60) is the Sabil or water-dispensary of the Mamluk sultan Qaytbay (r. 887–901 AH (1468–1496 CE)). From here water was distributed to the pilgrims. The building near the (59) Bab-ı Sebil-i Qaytbay (the ‘Gate of the Sabil of Qaytbay’) (between (58) and (59)) is the Medrese (Madrasa), the school of Sultan Qaytbay that was erected by him in 992 AH (1477 CE) (figure 13). He also furnished it with a valuable library. The school was built in the Mamluk style and had four iwans, but was demolished in 1956. There were 72 cloisters and large windows looking onto the Masjid al-Haram and the street al-Mas`a. 9 56 This photo was provided by Dr. Meraj Nawab Mirza from The Center of Makkah History at Umm al Qura University in Mecca. According to him, this photo was taken at the beginning of the twentieth century. K ASI M - N O VEM BER 2 0 2 0 T������ ’ž›ŽȱŗŘDZȱŠŠǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ ’ž›ŽȱŗřDZȱŠ› ŠǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱŘřŝŘǯȱȚȱ ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ Between the (56) Bab-ı Ali (‘Gate of Ali’) and that (60) Bab ün-Nebi (‘Gate of the Prophet’) is (61) Mil-i Ahdar (the ‘Green Signpost’) on a pillar. This is one of the pillars along the Mas’a, where pilgrims run seven times between the hillocks of Marwa and Safa. The signpost marks the spot where pilgrims have to change from walking to running. A few of these marker stones have survived in the Al-Haramayn Museum in Mecca. Near the second minaret on the right (counting from the bottom), the (31) Mahkeme or ‘court of justice’ is shown (figure 14). Further down one can identify the (32) Medrese-i Süleymaniye or ‘School of Süleyman’, which was built by Sultan Süleyman I and Selim II and housed the four Sunni law schools. This school used to have a minaret, but it was demolished in 1956. Immediately below the Mas`a is an inscription (33) that is difficult to read (figure 13). It could be read as Mazabiz (‘taps’ or ‘public fountains’). This would correspond to the map of D’Ohsson: 1788 (nr. 29), which mentions in the same K A S IM -N OV E M B E R 2 0 2 0 57 H��� ’ž›ŽȱŗŚDZȱ‘ŽȱŠœ“’ȱŠ•Ȭ Š›Š–ǯȱŽŠ’•ȱ˜ȱ‘ŽȱŽŒŒŠȱ™Š’—’—ǯȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ǯȱ —Ÿǯȱ—›ǯȱ ŘřŝŘǯȱȚȱ™™œŠ•Šȱ—’ŸŽ›œ’¢ȱ’‹›Š›¢ǯ place a ‘fontaine publique’ (D’Ohsson 1788: nr. 29). Also, Burckhardt states ‘near this place, too, is a public fountain, the work of the Othman Emperor Soleyman Ibn Selym: it is supplied from the Mekka aqueduct, and is crowded the whole day by hadjys [pilgrims], who come to fill their water-skins’ (Burckhardt 1829: 215). The Sanctuary (Haram) area (figure 14) The view of Mecca is dominated by the sanctuary area, the Haram. In the centre is the Ka’ba. The (75) Hacer ül-Esved (or al-Hajar al-Aswad, the ‘Black Stone’) written vertically immediately to the left is inserted into the eastern corner of the Ka’ba. On the roof of the building, the text (74) Altun Oluk or ‘Gold Spout’ is written at the place of the waterspout. In Arabic this would be called Mizab al-Rahma (the ‘Spout of Mercy’). The Ottoman Sultan Ahmed I replaced the traditionally silver or wooden spout with a gold specimen. The use of the Ottoman term Altun Oluk, instead of the Arabic or Persian phrase, demonstrates that the painter was a Turkish person. On the south-east side of the sanctuary, there is a palace with an inscription on the roof (54) that reads Dar us-Sa`ada, one of the names of Istanbul. This could be the palace of the aghas of the Dar us-Sa`ada, who were sent from 58 K ASI M - N O VEM BER 2 0 2 0 T������ the palace in Istanbul to Mecca to supervise the sultan’s waqfs, or religious endowment funds. Only a few of the numerous gates of the Great Mosque are depicted and labelled on the painting. In the back, forming a special square outside the southwest wall, is the (55) Bab-ı İbrahim (the ‘Gate of Ibrahim’), named not after the Prophet Abraham, but after a tailor who lived nearby this gate. To the right, in a similar square outside the north-west wall between two minarets, is the (30) Bab üz-Ziyade (the ‘Gate of the Increase’). At the front or north-east side the inscriptions read, from right to left, (57) Bab üs-Selam-ı Cedid (the ‘New Gate of Peace’), (58) Bab üs-Selam-ı-Sağir (the ‘Small Gate of Peace’), (59) Bab-ı SebilQaytbay (the ‘Gate of the Fountain of Qaytbay’), (60) Bâb-el-Nebí (the ‘Gate of the Prophet’), and (56) Bab-ı Ali (the ‘Gate of Ali’). Opposite the right side or north-west face of the Ka’ba is a low semi-circular wall. It encloses an area of special sanctity, the (72) Hicir (or Hijr, meaning the ‘inviolable’). According to the tradition, this is where Ishmael and Hagar are buried. The inscription below the wall reads Hicr-i İsmail. Immediately below the front or north-east face of the Ka’ba is a square hollow in the ground, identified by the text (73) Micene (Ar. Mi`jana, ‘trough’). This is the place where Abraham and Ishmael are believed to have mixed their mortar when they built the Ka’ba. This was also the place where presents sent from all over the world to the Ka’ba used to be preserved. The four law schools (madhhabs) of Sunni Islam each are located around the Ka’ba. The (69) Makam-ı Hanbelî (‘Hanbali Place’) on the left-hand or southeast side, the (70) Makam-ı Maliki (‘Maliki Place’) at the back on the southwest side, and the (71) Makam-ı Hanefi (‘Hanafi Place’) on the right-hand or north-west side behind the Hijr wall. The fourth law school of Imam Shafi’i, is not marked in the painting, but the shafi’is always prayed in the (64) Makam-ı İbrahim (the ‘standing place of Abraham’). This place is marked by a stone with Abraham’s footprint. Abraham is believed to have stood on it when building the Ka’ba. To the left is the pavilion with the (66) Zemzem-i Şerif (‘Noble Zamzam’). The painting has a vertical fold here. Thirsty pilgrims could drink the holy water of the Zamzam well easily without waiting as it was stored in the numerous water-jugs that were lying in the courtyard. Between the two domed pavilions there is a small, movable staircase with the text (63) Medrec (‘staircase’). These stairs are used to enter the Ka’ba , since the entrance is placed slightly higher than the ground. On the painting the entrance is marked right of the (75) Hacer ül-Esved (the Black Stone) on the face of the building. To the right of the Makam-ı İbrahim is the (65) Minber-i-Şerif (the ‘Noble Pulpit’), used for preaching. The text is written along one of the pillars at the top of the square. In front of the Makam-ı İbrahim there is a gate, (62) Bab üsSelâm-ı Atik (the ‘Old Gate of Peace’). This gate is perhaps the only remaining part of an older enclosure of the sanctuary. K A S IM -N OV E M B E R 2 0 2 0 59 H��� In the lower corner to the left of the sanctuary stand two buildings known as (67-68) al-Qubbatayn (‘the Two Domes’). They were used as storehouses before being demolished in the late nineteenth century. The inscriptions on the painting are difficult to read. The left one perhaps reads as (67) Makam ül-Ferraşin (the ‘Dome of the Caretakers of the Haram’), and the one to the right may read (68) Makam-ı Kadem in-Nebi (‘Dome of the Footprint of the Prophet’). Other details Some very interesting details that are not marked with captions but do provide interesting information when studied in combination with other sources can be observed in the painting. On the road to Arafat, three wells are painted. Inside the Haram there are numerous water jugs for storing Zamzam water. One can also see tents in the city suburbs. Also, there are seven unmarked quadrangular or round steeples, which can be identified as the minarets of Bab al-Umra; Bab al-Salam; Bab Ali; Bab al-Wida; Bab Madrasat Qaytbay; Bab al-Ziyada; and Bab Madrasat al-Sultan Sulayman. Later Developments in Representations of Mecca and the Ka’ba Despite the already mentioned lack of scholarly interest over the last 300 years, the Eneman painting has had quite an impact on European representations of the Ka’ba and Mecca. In 1717 for example, Adriaan Reland, a Dutch professor of ’ž›ŽȱŗśDZȱ‘Žȱ ŠȂ‹Šȱ–Š™ȱ’—ȱŽ•Š—Ȃœȱ™ž‹•’ŒŠ’˜—ȱ˜ȱŗŝŗŝȱǯ 60 156 K ASI M - N O VEM BER 2 0 2 0 T������ oriental languages at Utrecht University, published the second edition of his book De Religione Mohammedica Libri Duo on Islam. It contains two illustrations; one of the Ka’ba and one of Muzdalifa (Reland 1717: 114, 118). Reland is known as the first European scholar to publish a realistic representation of the Ka’ba. On his way back to Sweden in 1714, Michael Eneman visited the Netherlands and had a meeting with Reland in Utrecht. Reland mentioned that Eneman showed the painting of Mecca to him and that he gave him the permission to make a copy (Reland 1717: 119; Witkam 2002: 235–237). Reland drew the Masjid al-Haram and Ka’ba and added people around the courtyard, some of them performing the prayer. In this drawing, only the Holy Mosque is depicted; the city itself is not shown. Reland probably wanted to concentrate on the holiest place and not on the city of Mecca. Another famous Mecca illustration is the already mentioned engraving of D’Ohsson (1740-1807) (D’Ohsson 1788: pl. 45 ). D’Ohsson’s representation is taken from the same perspective as the Uppsala painting, but his drawing is less sophisticated and less exact. We do not know whether he had seen the Uppsala painting. But in his engraving, especially the city and its surroundings are less sophisticated than Eneman’s. An image that resembles the Uppsala painting can presently be found in the Khalili Collection (Rogers 2010: 260–261). This drawing in ink and opaque watercolour on paper was produced in the year 1845 by Muhammed Abdullah, who was a cartographer from Delhi. The drawing is comparable to the Uppsala Painting in its choice of vantage point. It is also very accurate, but does not include captions on the buildings and other points of interest. ’ž›ŽȱŗŜDZȱ‘Š ”ŠǰȱŠ—˜›Š–’Œȱ’Ž ȱ˜ȱ‘Žȱ’¢ȱ˜ȱŽŒŒŠǰȱŗşŘŘȬŗşŘřǰȱ˜’•ȱ˜—ȱŒŠ—ŸŠœǰȱŠœœŽ›ȱ ǯȱ ‘Š•’•’ȱ˜••ŽŒ’˜—ȱ˜ȱ œ•Š–’Œȱ›ǯȱ —Ÿǯȱ—›ǯȱȱŗŗŜřǯȱȚȱ˜ž›ȱ˜ž—Š’˜—ǯȱ˜ž›Žœ¢ȱ˜ȱ‘Žȱ ‘Š•’•’ȱŠ–’•¢ȱ›žœǯ K A S IM -N OV E M B E R 61 2 0 2 0 157 H��� In the Khalili Collection, there is a copy of the Uppsala painting (figure 16).10 In fact, the shape of the mountains and the streets are a one-to-one copy. The painting is signed by the hitherto unknown painter Shawkat and is dated 1341 AH (1922–1923 CE). How he gained access to the painting at Uppsala University in order to make a copy is a mystery. Photography Since the 1880s, the city of Mecca has been photographed and filmed. Even these images, however, are of less value than the Uppsala painting. Paradoxically, though these photos are panoramic, they do not show as many details as the earlier representations did. Therefore, one can conclude that the Uppsala painting remains an absolute summit in Hajj representations and has never been surpassed, even by later techniques of coloured pictures or photographs. Conclusion The Uppsala painting is a unique and extraordinary representation of Mecca and the Ka’ba. It was probably made by a Muslim artist in Cairo and, after its purchase by Michael Eneman, arrived in Uppsala in 1714. The painting is the first known three-dimensional representation of Mecca and demonstrates what was at the time a revolutionary bird’s eye view. It provides a very detailed description of the buildings of the city. The relevance of this painting has only recently been recognised by scholars. An important reason for this is that old Mamluk and Ottoman Mecca was destroyed completely by the Saudi guardians of the Holy City; this picture is indispensable to reconstructing and describing the Ottoman City. No other illustrations of Mecca contain more or richer details about the urban network and city pattern than the Uppsala painting. There is still much more analysis to be done on this painting, which has only started start to reveal its secrets. 10 62 158 This  ’ba painting (inv. nr. MSS 1163, Panoramic View of the City of Mecca, oil on canvas, 98 x 193cm) is not published. I would like to thank Nahla Nassar, curator of the Khalili Collections, for giving me permission to study this object. K ASI M - N O VEM BER 2 0 2 0 T������ Appendix: Legends in the Uppsala Painting I have used the Turkish transcription for the legends that are written in the painting. The most important difference between Ottoman and Arabic placenames are the characters c, v, ş and ç (Ottoman) for j, w, sh and ch (Arabic). 1. Cebel-i Arafat (Mountain Arafat) 2. Matbah (Kitchen) 3. Mescid-i İbrahim (Mosque of Abraham) 4. Mileyn (Markers of the border of Arafat) 5. Müzdelife (Muzdalifa) 6. Hüseyniye (al-Husayniyya village) 7. Cemre-i Evvel (the First Pillar) 8. Cemre-i Sani (the Second Pillar) 9. Cemre-i Salis (the Third Pillar) 10. Mina 11. Mescid-i Hayf (Mosque of al-Khayf ) 12. Mahall-i Nüzul-i ‘Ve’l-Mürselat’ (Place of Revelation of Sura wa-al-Mürselat) 13. Mescid-i Aşere (Mosque of Aqaba) 14. Mahall-i Şakk ul-Kamer (Place where the Moon was Split) 15. Cebel-i Ebu Kubeys (Mountain of Abu Qubays) 16. Cebel-i Sevir (Thawr Mountain) 17. Burket-i Yemeniye (the Yemeni Pool) 18. Mahall-i Mevlud-i Ebu Bekir (Birthplace of Abu Bakr) 19. Mevlud-ı Seyyidina Ömer (Birthplace of our Lord Umar) 20. Kahve (Coffee and Rest House) 21. Hudde (Hudde Village) 22. Sebil-i Ahmed Bey (Fountain of Ahmad Bey) 23. Cidde (Jeddah) 24. Mahall-i Zebh-i İsmail (Place of the Sacrifice of Ishmael) 25. Hammam-ı Umre (the Umra Bath) 26. Cebel-i Güzel (Jabal Hindi) 27. Makam-ı Aydarus (Station of Aydarus) 28. Şeyh Mahmud (Shaykh Mahmud) 29. Sebil[-i Mahmud] (Fountain [of Mahmud]) 30. Bab üz-Ziyade (Gate of Increase) 31. Mahkeme (Court) K A S IM -N OV E M B E R 2 0 2 0 63 H��� 32. Medrese-i Süleymaniye (Suleymaniye School) 33. Mazabiz (Ablution Fountain) 34. Makam-ı Merve (Marwa Hill) 35. Zaviye-i Ahmediye (Convent of the Ahmadiyya Order) 36. Zaviye Kadiriye (Convent of the Qadiriya Order) 37. Suk (Market) 38. Burket el-Șami (Damascus Pool) 39. Burket-i Mısri (Egyptian Pool) 40. Serdar-ı Müstahfızan (Head of the Security) 41. Merkad-ı Ebu Talib (Tomb of Abu Talib) 42. Mescid-i Cinn (Mosque of the Jinn) 43. (Merkad-ı ) Hatice ([Tomb of ] Khadija) 44. Mevlevihane (Convent of Mevlevi Dervishes) 45. [Kasr-ı] Vezir ([Palace of the] Governor) 46. Menzil-i Ebu Bekir (House of Abu Bakr) 47. [Mevlud-ı] Fatma ([Birthplace of ] Fatima ) 48. Hammam ün-Nebi (Bath of the Prophet) 49. Makam-ı Cebel-i [Nur] (Standing-place of [Nur] Mountain) 50. Mevlud ün-Nebi (Birthplace of the Prophet) 51. Dar el Hayzuran (House of Hayzuran, mother of Harun al-Rashid) 52. Mevlud-ı Ali (Birthplace of Ali) 53. Makam-ı Safa (Standing-place of Safa) 54. Dar us-Sa`ade (House of Felicity, the house of the Ottoman governor) 55. Bab-ı İbrahim (Gate of Abraham) 56. Bab-ı Ali (Gate of Ali) 57. Bab üs-Selam-ı Cedid (New Gate of Peace) 58. Bab üs-Selam-ı Sağir (Small Gate of Peace) 59. Bab-ı Sebil-i Qaytbay (Gate of the Fountain of Qaytbay) 60. Bab ün-Nebi (Gate of the Prophet) 61. Mil-i Ahdar (the Green Signpost) 62. Bab üs-Selam-ı Atik (the Old Gate of Peace) 63. Medrec (Staircase) 64. Makam-ı İbrahim (the Standing place of Abraham) 65. Minber-i Şerif (the Noble Pulpit) 66. Zemzem-i Şerif (the Noble Zamzam [well]) 67. Makam-ı Kadem in-Nebi (the Location of the Foot of the Prophet) 64 K ASI M - N O VEM BER 2 0 2 0 T������ 68. Makam ül-Ferraşin (the Location of the Caretakers) 69. Makam-ı Hanbeli (the Location of the Hanbali school of jurisprudence) 70. Makam-ı Maliki (the Location of the Maliki school of jurisprudence) 71. Makamı Hanefi (the Location of the Hanafi school of jurisprudence) 72. Hicr-i İsmail (the Burial place of Ishmael) 73. Micene (‘Trough’) 74. Altun Oluk (Golden Spout) 75. Hacer ül-Esved (the Black Stone) Bibliography Ådahl, K. (1990), Orientalismen i svensk konst. Islamiska föremål, förebilder och influenser i konst och konsthantverk. Stockholm: Höganäs Wiken. Ådahl, K. (2001), ‘View of Mecca and the Ka’ba’, in T. Heinemann, Uppsala University Art Collections, 256-257. Uppsala: Uppsala University. Aksoy, Ş. & R. Milstein (2000), ‘A collection of thirteenth–century illustrated Hajj certificates’, in İ.C. Schick (ed.), M. Uğur Derman 65 yaş armağanı – 65th birthday festschrift, 101-134. Istanbul: Sabancı Üniversitesi. Ali Bey (alias Domingo Badia y Leyblich) (1816), Travels of Ali Bey in Morocco, Tripoli, Cyprus, Egypt, Arabia, Syria and Turkey between the Years 1803 and 1807, 2 vols. London: Longman. Blair, S. (2013), ‘Inscribing the hajj’ in V. Porter & L. Saif (eds.), Hajj. Collected essays, 160-169. London: The British Museum Press. Burckhardt, J.L. (1829), Travels in Arabia. Comprehending an account of those territories in Hedjaz which the Mohammedans regard as sacred. London: Colburn. D’Ohsson, I.M. (1788), Tableau général de l’Empire othoman. Divisé en deux parties, dont l’une comprend la législation mahométane; l’autre, l’histoire de l’Empire othoman, dédié au Roi de Suède, 2 vols. Paris: L’Imprimerie de monsieur [Firmin Didot]. Evliya Çelebi (2005), Evliyâ Çelebi Seyahatnâmesi. Topkapı Sarayı Kütüphanesi Bağdat 306, Süleymaniye Kütüphanesi Pertev Paşa 462, Süleymaniye Kütüphanesi Hacı Beşir Ağa 452 numaralı yazmaların mukayeseli transkripsiyonu dizini, in Y. Dağlı, S.A. Kahraman & R. Dankoff (eds.), 1. baskı kitap 9. Istanbul: Yapı Kredi Yayınları. Gren, E. (1945), ’Bidrag till Michael Enemans biografi studier och bokförvärv’, in Donum Grapeanum. Festskrift tillägnad överbibliotekarien Anders Grape på sextiofemårsdagen den 7 mars 1945, 445-494. Uppsala: Almqvist och Wiksell. K A S IM -N OV E M B E R 2 0 2 0 65 H��� Juvin, C. (2010), ’The tombstones from the al-Ma’ala cemetery in Mecca’, in A.I. al-Ghabban et al., Roads of Arabia, archaeology and history of the Kingdom of Saudi Arabia, 490-521. Paris: Musée du Louvre. Krieger, Z. (2013), ‘ McMecca. The strange alliance of clerics and businessmen in Saudi Arabia. Why are Wahhabi leaders allowing the destruction of historical sites in Islam’s holiest city?’, in The Atlantic, 19 March 2013. Online accessible at: http://www.theatlantic.com/international/archive/2013/03/mcmeccathe-strange-alliance-of-clerics-and-businessmen-in-saudi-arabia/274146/. Maury, C. ( 2013), ‘Depictions of the Haramayn on Ottoman tiles. Contents and context’, in V. Porter & L. Saif (eds.), Hajj. Collected essays, 143-159. Londen: The British Museum Press. Mols, L. (2013), Verlangen naar Mekka. De hadj in honderd voorwerpen. Leiden: Rijksmuseum Volkenkunde. Nasraw, S. (2007), ‘Mecca’s ancient heritage is under attack. Developments for pilgrims and the strict beliefs of Saudi clerics are encroaching on or eliminating Islam’s holy sites in the kingdom’, in Los Angeles Times, September 16, 2007. Online accessible at http://articles.latimes.com/2007/ sep/16/news/adfg-mecca16. Reland, H. (1717), De Religione Mohammedica libri duo. Editio altera auctior. Utrecht: Broedelet. Rogers, J.M. (2010), The arts of Islam. Masterpieces from the Khalili Collection, London: Thames & Hudson. Snouck Hurgronje, C. (1888), Mekka. I. Die Stadt und ihre Herren. Haag: Martinus Nijhoff. Strika, P.V. (1979), ‘A Kaba Picture From Mosul’, in Sources for the history of Arabia. Studies in the history of Arabia, vol. 1, 145-149. Riyadh: Riyadh University Press. Uluengin, N. & B. Uluengin (1988), ‘Minar Sinan’ın Mekke ve Medine’deki Eserleri’, in Mimar Sinan Dönemi Türk Mimarlığı ve Sanatı, 345-360. Istanbul: Türkiye İş Bankası Kültür Yayınları. Witkam, J.J. (2002), Vroomheid en activisme in een islamitisch gebedenboek. De geschiedenis van de Dala’il al-Khayrat van al-Gazuli. Leiden: Universiteitsbibliotheek (Kleine publicaties van de Leidse Universiteitsbibliotheek). 66 K ASI M - N O VEM BER 2 0 2 0 K A S IM -N OV E M B E R 2 0 2 0 67 NEW BOOK on MECCA AND NEDINA ILLUSTRATIONS, DRAWINGS AND MAPS Mekke ve Medine Harita ve Tasvirleri 15. Yüzyıldan 20. Yüzyıla ‫خرائط ورسوم مكة المكرمة والمدينة المنورة منذ‬ (‫م‬15-20( ‫القرن التاسع وحتى القرن الرابع عشر للهجرة‬ ( MEKKA & MEDINA | Mehmet Tütüncü MEKKA MEDINA maps and illustrations from 15th to 20th century Mehmet Tütüncü Mecca and Medina maps and Illustrations from 15th to 20th Century Mekke ve Medine Harita ve Tasvirleri 15. Yüzyıldan 20. Yüzyıla ‫خرائط ورسوم مكة المكرمة والمدينة المنورة‬ (‫م‬15-20( ‫منذ القرن التاسع وحتى القرن الرابع عشر للهجرة‬ ( Mehmet Tütüncü 2020 Mekka and Medina Maps and Illustrations: from 15th to 20th Century Mekke ve Medine Harita ve Tasvirleri : 15 yüzyıldan 20. yüzyıla (‫م‬15-20( ‫خرائط ورسوم مكة املكرمة واملدينة املنورة منذ القرن التاسع وحتى القرن الرابع عرش للهجرة‬ Mehmet Tütüncü with contributions from Atef Alshehri (Medina-Riyadh), Ahmed Ameen (Fayoum University -Egypt) and İbrahim Yılmaz (Erzurum). Graphic Designer: Omer Erdem [email protected] ISBN 978-90-6921-022-3 CORPUS OF TURKISH ISLAMIC INSCRIPTIONS nr: 18 TÜRK İSLAM KİTABELERİ DİZİSİ no:18 Kapak resmi / Cover: Mecca painting on the Qibla Wall of Şerif Halil Pasha Mosque in Shumen (Bulgaria). © Copyright 2020, SOTA All rights reserved. No part of this book may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying and recording or otherwise, without prior written permission of the publisher and copyright holder. Publisher: SOTA / Research Centre for Tukish and Arabic World Brabantlaan 26 2101 SG Heemstede Netherlands Tel: + 31 23 5292883 Email: [email protected] or [email protected] Web: www.turkistan.org Medina tile, Handanija mosque, Prusac Bosnia, 17th Century Photo Mehmet Tütüncü (2009) 2 Content İçindekiler Introduction / ‫املقدمة‬ Giriş Categories of Holy Site Images 5 8 10 Chapter I [en, tr] First Western Illustrations of Mecca and Medina Mainz 1486, Breydenbach Panoramic Map Augsburg 1517, Vartema and Martin Waldseemüller Antwerpen 1672, Mecha in Arabien 13 14 15 Chapter 2 [en, tr, ar] Medina-Istanbul 1540, Topkapi Scroll 19 Chapter 3 [en, tr] Berlin 1707-1709, Miniatures 67 Chapter 4 [en, tr] Uppsala 1713, Mecca Painting 75 Chapter 5 [en, tr] Utrecht 1717, Engraving of Adrian Reland 113 Chapter 6 [en, tr] Shumen 1757, Sharif Halil Pasha Mosque 120 Chapter 7 [en, tr] Copenhagen 1784, Manuscript of Baron d’Aurange Mecca tile, Handanija mosque, Prusac Bosnia, 17th Century Photo Mehmet Tütüncü (2009) 126 Chapter 8 [en, tr] Paris 1787, Engraving of Muradgea D’Ohsson 132 Chapter 9 [en, tr] Medina, 1849-1861, Paintings in Masjid al-Nabawi 138 Chapter 10 [en, tr] London 1907-1908, Early Photography of Mecca and Medina The lens of Mirza 143 List of Pictures 181 3 INTRODUCTION al map of Mecca and Medina, however what sets it apart is that for the first time in history a different technique gives the observer a feeling of depth for these places, which had been absent in earlier depictions of Mecca and Medina. The first dated map to have a bird’s eye view comes from a collected manuscript with texts about the Hajj pilgrimage. This manuscript from the year 1707 has two pictures with spatial depth (theso-called “bird’s eye view”). but even though this is a three-dimensionaldepiction, the minarets and some buildings are oriented towards the center of the painting so that it looks as if the minarets and buildings are suspended in mid-air. The captions are also written in the same way as in the other example. As such, we are one step away from the more accurate representations with a proper perspective. Drawings and images of Islam’s holiest places, the Kaaba and the city of Mecca, alongside Medina with the Mosque of Prophet, have been very popular over the centuries. These images have been used for various purposes and had also been executed for these purposes (drawn, sketched, coloured, incised, stencilled, cut, knitted, printed or even built) on or using a variety of materials, such as stone, ceramics, paper, textiles, wood, marble/tiles (in the form of frescoes), etc. This book is a publication for the first time of nine key objects, and contains unique information about the history and topography of the holy cities of Islam. All of these key objects are monuments of the arts, and will, for the first time, be analysed and studied and compared to one another so that the information they have will be disclosed to the 4. Uppsala Painting: This extraordinary object is the earliest paintingof reader. Mecca remaining and which comes from 1713. It was presumably painted in Cairo but now is a part 1. The first western depictions in the Western world are from 1486.In a book print- of the collections of Uppsala University. This is ed in Mainz, Germany, Mecca has been drawn on a painting which seems to be revolutionary when a panoramic map of the Middle East, with Jerusa- it comes to the images of Mecca. This painting is lem as its centre. A second sample is from 1672 knownas the “Mecca Painting of Uppsala Univerand comes from the Netherlands. However, these sity” and contains the richest material and inforworks are not based on reality, they are based on mation for the historical topography and geography hearsay without any intention of accurately repre- of Mecca, as this is the first birds eye view over Mecca And its surroundings. This chapter is the senting Mecca or Medina. essential part of our book, where there are also descriptions and where comparisons with chapter 3, 5 2. Topkapi Scroll: A gigantic 815 cm-long scroll originating from and 7 are central. Mecca from the year 1540, depicting maps of Mec- 5. Utrecht Engraving. This object is an engraving ca, Medina, and Their surroundings. This map, en- from 1717. For the first time, it is a reliable scientiftitled the Topkapi Scroll, was a gift from the people ic drawing and publication of Mecca and Kaaba in a printed form and which was published in Utrecht, of Medina to the Turkish Sultan. hence giving it its name. With this engraving, the knowledge about the holy places of Islam in the 3. Berlin Miniatures: This third work comes from 1707 and is a tradition- western world became widely available. 74 K ASI M - N O VEM BER 2 0 2 0 6 Schumen (Bulgaria) 1744 Sherif Halil Pasha Mosque: Inside this Mosque which was builded in 1744 there are 2 paintimgs on the mihrab wall which contains a Mecca and a Medina city portrait.There is no information about when and how these paintings where produced. But the original internal decoration of the Mosque is still intact. So we can guess that these paintings are the oldest specimen of holy cities paintings that have survived and are in situ. All of these works of art contain unique information about the buildings and topography of Mecca and Medina. While some are well known, they have never been studied on their connection and content. They are important because they provide information about the historical cities that no longer exist. So, for a reconstruction of Mecca and Medina, we are dependent on thesepictures and images. Heemstede, January 1st, 2020 7. Baron D’aurange 1784: In the Queen’s library in Copenhagen isa manuscript that is dedicated to Danish King Christian VII in the year 1784 by a mysterious writer named Baron D’Aurange. This is huge manuscript with a description of Mecca and Medina in twovolumes. Therein is included two very large hand-made pictures of the holy sites along with a map of Arabia. We publish here, for the first time, these images. 8 Muradgea D’Ohsson 1787: Muradagea D’Ohsson, a famous Tableau General, produced a very venerated and famous map of Mecca, which for many years remained an iconic representation of Mecca until the development of photography. 9. Late Ottoman Paintings and illustrations: These are two late-Ottoman period paintings inside al-Masjid al-Nabawi: the first depicts al-Masjid al-Haram in Mecca, while the second shows Masjid Quba.\ 10. Mirza’s Photos 1907-1908: The final monumental work from our book are 13 photos taken by the Indian photographer Mirza which are now stored at the British Library in London. Throughout the centuries, various techniques and different artists have tried to picture Islam’s holiest cities Mecca and Medina for the wider public. K A S IM -N OV E M B E R 2 0 2 0 75 SOTA PUBLICATIONS / SOTA YAYINLARI Series editor: Mehmet Tütüncü CORPUS OF TURKISH ISLAMIC INSCRIPTIONS / TÜRK İSLAM KİTABELERİ DİZİSİ 1. Mehmet Tütüncü, Turkish Jerusalem (1516-1917), Ottoman Inscriptions from Jerusalem and Other Palestinian Cities, 268p + 84p, Haarlem 2006. ISBN 90-807403-4-9 2. Mehmet Tütüncü, Turkish Palestine (1069-1917) Inscriptions from alKhalil (Hebron), Nebi Musa and Other Palestinian Cities under Turkish Rule , 320p, Haarlem 2008. ISBN 978-90-6921-004-9 3. Leyla Yılmaz, Antalya’da Türk Dönemi Kitabeleri, Haarlem 2009. 273p, with a map 42x60 ISBN 978-90-6921-005-6 4. Nurcan Boşdurmaz, Bosna Hersek Mezartaşları, Haarlem 2011. ISBN 978-90-6921-006-3 5. Mehmet Tütüncü, Cezayir’de Osmanlı İzleri 314 yıllık Türk Hakimiyetinde Cezayirden Kitabeler. Eserler, Portreler, İstanbul-Haarlem 2012. 447p, ISBN 978-90-6921-000-1 6. Emine Karpuz, Gaferyad Tarihi, Karaman’ın Kazımkarabekir İlçesinde Tarihi eserler, Kültür ve Kitabeler, Haarlem 2015. 224 p, ISBN 97890-6921-008-7 7. Mehmet Tütüncü, Corpus of Ottoman Inscriptions from Albania and Montenegro, Mehmet Tütüncü. Haarlem 2017. 312p, ISBN 978-906921-010-1 8. Mustafa Hami, Sevkü’l-askeri’l-cedîd der-ahd-i Sultân Mecîd, facsimile, transliteration and translation, with an introduction by Mehmet Tütüncü, Cihan Okuyucu and Klaus Kreiser, Haarlem 2017. 354p, ISBN 978-90-6921-011-7 9. Mehmet Tütüncü, Toplu makaleler - Collected Studıes I. Kudüs ve Türkler, Hollanda Türkiye İlişkiler, Osmanlılar ve Hac ve Evliya Çelebi’nin İzinde Haarlem 2017. 474p, ISBN 978-90-6921-012-4 10. Mehmet Tütüncü, Toplu makaleler II - Collected Studies II.Kitabe Araştımaları, Cezayir ve Akdeniz, Arnavutluk ve çeşitli yazılar, Haarlem 2017. 465p. ISBN 978-90-6921-013-1 11. M. Zeki İbrahimgil, Rodos Adası´nda Osmanlı Mirasi / Ottoman Heritage in Rhodes Island, Haarlem, 2018. 468p, ISBN 978-90-6921-0070 12. Mehmet Tütüncü, 1565 Malta Kuşatması Saray Freskleri, 64p, Haarlem 2018. ISBN 978-90-6921-014-8 13. Mehmet Tütüncü, Silsile-name-i Varşova, Resimli Peygamberler ve Sultanlar Silsilesi, Illustrated Genealogy of Prophets and Rulers, Haarlem 2018. 184p, ISBN 978-90-6921-015-5 14. Mehmet Tütüncü / Erik Swart / Bülent Arı 400+ jaar Vriendschap Vriendschapsverdrag uit 1612 tussen Nederland en Turkije, tekst en vertaling naar het moderne Turks en Nederlands. 400+ Yıllık Hatır 1612 Hollanda Ahitnamesinin tıpkıbasımı, metni, günümüz Türkçesine ve Hollandacaya tercümesi Haarlem 2019. 64p, ISBN 978-906921-017-9 15. Mehmet Tütüncü, Early Photography of the Cities Mecca and Medina: The Lens of Mirza / Erken Mekke ve Medine Fotoğrafları: Mirza’nın Merceğinden Haarlem 2019, ISBN 978-90-6921-018-6 16. Mehmet Tütüncü, Toplu makaleler III - Collected Studies III. Kitabe Araştımaları, Karadeniz, Akdeniz, Arabistan Yarımadası ve Çeşitli Yazılar Haarlem 2019, 465p. ISBN 978-90-6921-019-3 17. Mehmet Tütüncü - Andrey Krasnazhon, Ismail, Şehri ve Kaleleri (XVI-XIX YüzyIl belegelerinde) Izmail City and its fortifications, Haarlem-Odessa 2019 ISBN 978-90--6921-020-9 ISBN 978-966-555325-0 18. Mehmet Tütüncü, Mekka and Medina Illustrations: from 15th to 20th Century / Mekke ve Medine Tasvirleri : 15 yüzyıldan 20. yüzyıla(‫خرائط ورسوم مكة املكرمة واملدينة املنورة منذ القرن التاسع وحتى القرن الرابع عرش‬ ‫م‬15-20( ‫للهجرة‬, Haarlem 2020, ISBN 978-90-6921-022-3 19. Mehmet Tütüncü, Karadeniz Kuzeyinde Osmanlı Kitabeleri (Ukrayna-Rusya-Gürcistan-Moldova) / Corpus of Ottoman Inscriptions from Northern Black Sea / Haarlem 2020. ISBN 97890-6921-023-0 20. Mehmet Tütüncü, Tuna Boyunda Osmanlı Kitabeleri (RomanyaMacaristan-Sırbistan) / Ottoman Inscriptions along the Danube (Romania-Hungary-Serbia) Haarlem 2020. ISBN 978-90-6921024-7 21. Mehmet Tütüncü, Bulgaristan'da Osmanlı Kitabeleri / Corpus of Ottoman Inscriptions from Bulgaria, Haarlem 2020. ISBN 978-906921-025-4 22. Mehmet Tütüncü, Tolga Teker, Mekke Kitabeleri, Meccan Inscriptions, Haarlem 2020 ISBN 978-90-6921-026-1 23. Mehmet Tütüncü- Evren Kutlay, Long Lost Fortune: Sultan Abdülhamid’s Music Album to Romanian Queen Elizabeth of Romania, Bir TatlI Huzur: Sultan Adülhamid’in Romanya Kraliçesi Carmen Silva’ya hediye ettiği Müzik Albümü, Haarlem 2021.ISBN 978-906921-022-3 FORTHCOMING: 24. Mehmet Tütüncü (ed) Ottomano-Ukrainica, Studies on Ottoman Ukrainian Borders. Haarlem 2020 25. Ahmed Ameen, Corpus Inscriptionum Ottomanincarum Greaecia (CIOG) Volume I, Inscriptions of Ottoman Buildings in Thrace [Evros, Rhodope, Xanti], Haarlem 2021 26. Ali Cheib ben Sassi, Les Inscriptions de Tripoli (Trablusgarb et Libie) à l’Epoque Ottomane (1551-1911), Tripoli-Haarlem 2021. 27. Mehmet Tütüncü, Etudes sur les Monuments Ottomanes d’Algerie, Algiers-Haarlem 2021 28. Abu Bakr Efendi- A. van Selms, Bayan-al-Din / Uiteensettinge van Godsdienst, Facsimile and transcription of the first book in Arabic letters in Dutch language. (Afrikaans). printed 1869 in Istanbul. Haarlem-Pretoria, 2021 29. Fathi Jarray, Corpus des Inscriptions des Monuments de la Regence Tunis a l’Epoque Ottomane, Tunis-Haarlem, 2022 30. Historical Maps and Illustrations of Algiers / Tarihi Cezayir Harita ve Tasvirleri, Haarlem 2024 NEW BOOK ABOUT MEKKA AND MEDINA CARTOGRAPHY AND ILLUSTRATIONS: Mekka and Medina Illustrations: from 15th to 20th Century Mekke ve Medine Tasvirleri : 15 yüzyıldan 20. yüzyıla ‫ خرائط ورسوم مكة المكرمة والمدينة المنورة منذ القرن التاسع وحتى القرن الرابع عشر للهجرة‬- Mehmet Tütüncü with contributions from Atef Alshehri (Medina-Riyadh), Ahmed Ameen (Fayoum University -Egypt) and İbrahim Yılmaz (Erzurum). Graphic Designer: Omer Erdem [email protected] ISBN 978-90-6921-022-3 CORPUS OF TURKISH ISLAMIC INSCRIPTIONS nr.18 TÜRK İSLAM KİTABELERİ DİZİSİ no:18 Kapak resmi / Cover: Mecca painting on the Qibla Wall of Şerif Halil Pasha Mosque in Shumen (Bulgaria). Publisher: SOTA / Research Centre for Tukish and Arabic World Tel: + 31 23 5292883 Email: [email protected] or [email protected] 30x30 cm, hardcover luxurious paper and print Will published at 1st of September 2020. Price € 200 excl. Shipping costs Pre-ordering possible until 15 august which gives 40% discount. And the book will cost € 120 excluding shipping costs. (until 15 august orders) Please send your orders to next email: [email protected] Some sample pages are hereunder.