El Yazması

Câmiu't-Tevârîh, which was prepared under the supervision of the vizier Reşîdüddîn Fazlullah-ı Hemedânî, by the order of the Ilkhanid Ruler Gazan Khan, is the oldest known, relatively reliable and impartial work in the history of the world. The manuscript, of which four copies exist today, two in Arabic and two in Persian, was prepared and illustrated in the first years of the 14th century. In the Arabic copies of the Edinburgh University Library (Or. Ms. 20) and the Khalili Collection (MSS 727),
which are the subject of the study, there are various miniatures on the life of the Prophet Muhammad. The aim of the study is to
reveal the historical and artistic features of the miniatures on the subject of “The Birth of the Prophet Muhammad”, “Declaration of Prophethood/The First Revelation”, “The Siege of Beni Nadir Tribe” and to determine the origins of these miniatures in Christian/Byzantine art. First of all, the scenes in question will be defined, and then, in the light of tafsir, hadith and historical sources, it will be tried to determine the background that allows the formation of the scenes according to the iconographic and iconological analysis method. Finally, iconographic and stylistic comparisons will be made with similar examples in Christian/Byzantine art (The birth of Virgin Mary and Christ, The Annunciation, Entry to Jerusalem). It is clear that the rich accumulation of Christian/Byzantine art, based on the deep iconographic infrastructure of the Canonical and
Apocrypha Gospels, influenced the Islamic depiction arts in the fields of composition and figure. The Islamic artist has taken his deficiencies in the field of iconographic painting, which he is still new to, from the religions and cultures that have knowledge in this field and has interpreted it in accordance with his own style. Our study aims to reveal the depth and dimensions of the interaction in question through three sample pictures.

Öz Bizans Dönemi tasvirlerinde sıklıkla işlenen on iki yortudan biri olan "İsa'nın Mabede Takdimi" sahnesinin uygulandığı mozaikler ve farklı teknikte işlenen, on iki eserdeki betimlemeler incelendiğinde, Batı üretimi eserlerle Bizans üretimlerinde temel kompozisyonun paylaşıldığı ancak imgelemede belli farklılıkların bulunduğu görülmektedir. Aynı anda gerçekleşen iki önemli olay olan İsa'nın Simeon ile buluşması ve Meryem'in arınmasını içinde barındıran törenlerin, Doğuda ve Batıda, farklı içerik ve tarihlerde kutlandığı izlenmektedir. Doğuda Epifani'den kırk gün sonra "İsa'nın Mabede Takdimi" olarak kutlanan bayram, Batıda "Meryem'in Arınması" onuruna kutlanılmaktadır. Çalışmamız kapsamında, bu sahnenin betimlendiği eserlerden seçilen bazı örnekler incelenerek, ikonografik açıdan ortaklıklarının ve farklılıklarının saptanması amaçlanmıştır. Abstract In Byzantine mosaics, frescoes and handicrafts, the scene of the Presentation of Christ in the Temple, which is one of the twelve feasts of Orthodoxy, was often depicted. It is seen that the basic composition of this scene is shared with western works, but some differences are observed in the imagery.