THE MANUSCRIPT OF SIYAR-AL-NABI THE MASTERPIECE

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SEDAGHAT M.

مرکز اطلاعات علمی Scientific Information Database (SID) - Trusted Source for Research and Academic Resources

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Journal: ISLAMIC ART Year:2007 | Volume:3 | Issue:6 Page(s): 43-62

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Information Journal Paper

Title

THE MANUSCRIPT OF SIYAR-AL-NABI THE MASTERPIECE

Author(s)

SEDAGHAT M. | Issue Writer Certificate

Keywords

ISLAMIC PAINTINGQ3

OTTOMAN ERAQ3

RELIGIOUS MANUSCRIPTSQ3

SIYAR-AL-NABIQ3

CONCEPT AND TECHNIQUEQ3

Abstract

Commencing at the tenth/sixteenth century, ISLAMIC PAINTING was remarkably influenced by the relocate of artists. In the reign of the Ottoman rulers, borders of this country were open to Persian artists and regarding the fact that Persians and Ottomans both acquired the same language in the royal court, this made the matter more undemanding. Thus, Ottomans were relatively active in drawing poets, writers, and artists towards themselves and in the time when Persians were occupied in the restlessness and turbulence of political conditions, many Persian artists travelled to Ottoman workshops hoping to gain the support and patronage of Ottoman rulers. With the departure of these artists, not only did they take their proficiency and talent but also transferred many Persian manuscripts to Turkey. However, in the Ottoman royal court many manuscripts were illustrated and completed in the Baghdad school, which predominantly consisted of RELIGIOUS MANUSCRIPTS. These manuscripts were generally about the life and memoir of the Prophet of Islam and Imams.Siyar-al-Nabi one of the many Turkish manuscripts, illustrates the life of the Prophet and Imams; and is derived from its Arabic copy. This manuscript was illustrated in 981/1003 from its older copy which was composed in 766/1364 by Ahmad-Ibn-Noor-IbnMostafa by the order of Morad III. Originally, this manuscript consisted of six volumes but only four remain today.This article is organized according to the following aims: 1-ldentifying the basics and outline for creating the manuscript of SIYAR-AL-NABI.2-Understanding the painting techniques and the type of contents used.Questions answered throughout the article:1-What are the main characteristics of SIYAR-AL-NABI? 2-What are the basics for creating this manuscript? 3-What are the content and theme of the paintings? The compilation of subject matter and data used in this article is extracted from library and record materials and the conduction of the theme is descriptive, historical and analytical.

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References

RELIGIOUS SPIRITUALITY IN PAINTINGS OF THE SAFAVID AND OTTOMAN ERA

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APA: Copy

SEDAGHAT, M.. (2007). THE MANUSCRIPT OF SIYAR-AL-NABI THE MASTERPIECE. ISLAMIC ART, 3(6), 43-62. SID. https://sid.ir/paper/136754/en

Vancouver: Copy

SEDAGHAT M.. THE MANUSCRIPT OF SIYAR-AL-NABI THE MASTERPIECE. ISLAMIC ART[Internet]. 2007;3(6):43-62. Available from: https://sid.ir/paper/136754/en

IEEE: Copy

M. SEDAGHAT, “THE MANUSCRIPT OF SIYAR-AL-NABI THE MASTERPIECE,” ISLAMIC ART, vol. 3, no. 6, pp. 43–62, 2007, [Online]. Available: https://sid.ir/paper/136754/en

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