The representation of the ulema in the Ottoman visual

Along with the Seyfiye (military) and Kalemiye (scribal) institutions, the Ilmiye (learned/cultural/religious) institution is one of the three main professions of the Ottoman Empire. The ulema (learned men), who had been employed in various different line of work within the Ilmiye corps, fulfilled important duties as judgeship, religious education or guiding the public during the founding years of the state and then had attained their primary duties as the Ilmiye completed its development during the era of Sultan Mehmed the Conqueror. The ulema who held significant positions within the state ranks were in close proximity with the sultans, members of the dynasty as well as top state officials. Holding high positions within the state protocol and organizations, the ulema were represented in the Ottoman visual culture in parallel with their office. It is possible to see the ulema who had been represented in the Ottoman visual culture depicted in cülus (enthronement) ceremonies, while accompanying the sultans during their journey to the throne, during the Dîvân-ı Hümâyun (the Imperial Council) meetings, while performing their duties, in the funeral rites of dynasty members, at imperial weddings, at festivities, in processions, in receptions, in battles and expeditions, in scenes depicting certain sections of their lives and in clothing albums. The reflection of the ulema within the visual culture is related to their post within the state protocol and Ilmiye institute. The thesis study 'The Representation of the Ulema in Ottoman Visual Culture' includes assessments of how the ulema is represented in painting art as members of Ottoman Ilmiye such as the teacher of the sultan, Sheikhulislam (chief juris-consult), Kadi Askers of Rumelia and Anatolia (chief military judges), Nakibüleşraf (chief of the prophet descendants), Müneccimbaşı (chief astrologer), Hekimbaşı (chief physician), Kadi (judge of Islamic canon law) and Müderris (professor/teacher). The ulema identified in the Ottoman visual culture were initially evaluated within the scene they are depicted and then in the hierarchical order that existed within the Ilmiye institute.