By Esra Akin Kivanc
The earliest identified Ottoman literary resource concerning the lives and works of calligraphers, painters, limners, and book-binders of the Ottoman and Persianate worlds, Mustafa ?‚lis (1541-1600) Epic Deeds of Artists (1587), used to be hitherto thought of to be essentially a biographic dictionary. according to a finished interpreting of the descriptive and analytic instruments of ?‚lis biographical writings in addition to his passionately penned own reflections on sixteenth-century attitudes towards artwork and artists, this severe variation by way of Esra Akn-Kvan?§ brings to the fore the importance of Epic Deeds not just as a consultant to the connoisseurs and aficionados of the time, but additionally as a desirable remark via a well-known highbrow at the religious which means and fabric price of paintings.
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Additional resources for Mustafa Âli's Epic Deeds of Artists (Islamic History and Civilization)
I admitted my incapacity. They all insisted. Seeking refuge and assistance from God, I was obliged to accept. ˙Inal continues in a footnote: Among those who insisted most was the Director of Museums, Halil Edhem Bey. ” I responded with fitting words, [but] he denied what he said. Turning to the secretary, I said, “The man who he says does not have confidence in himself trusts in God, and will do what is asked of him. ” … Somehow, the introduction I wrote to this work has been valued greatly by men of knowledge here and abroad.
16 For the next two decades or so, the highs and lows of Mustafa #Âli’s career by and large paralleled those of his patron. #Âli followed Lala Mustafa Pasha first to Aleppo where the Pasha was appointed governorgeneral. After spending a brief period in Egypt, the two returned to Damascus together. In , Lala Mustafa Pasha got involved in a conflict with Sinan Pasha (d. , and . The Ottoman ruling elite was divided into three professional categories; the Men of the Sword (seyfiye), which included military specialists and administrators; the Men of Learning (ilmiye), which included legal experts, judges, teachers, and religious authorities of the Islamic state; and the Men of the Pen (qalemiye), which included bureaucrats and administrators.
Rightfully proud of his own meticulous work, ˙Inal was highly critical of earlier authors of art-historical treatises. In his interesting introduction to The Last Calligraphers, ˙Inal recounts how he got involved in the cumbersome project of creating the Epic Deeds’ critical edition. On my first day at the [Historical] Society, I found boxes of photographic reproductions of a manuscript in front of me. I inquired [what they were]. I was told that it was the “Epic Deeds of Artists,” sent from Vienna to be printed [by the Society].