Musical elements in the divans written by the family of Sheikh al-Islam Abu Ishaq-zade

In classical Turkish literature, poetry has always been intertwined with music, and poets have incorporated musical terminology into their poetic expression. One of the most striking examples of this interaction is seen in the works of scholars who held a divan (divan) in the rank of sheikh al-Islam, the highest religious authority. An examination of the development of the sheikh al-Islam position in the Ottoman Empire reveals that ulema families formed a continuous structure. The scholarly heritage passed down through generations within a family was a key factor in the ability of multiple members of the same family to hold important positions within the ulema ranks. Among these families, the Hoca-zades rank first with seven sheikh al-Islams, the Dürri-zades with six, and the Ebuishak-zades with five, ranking third. This study examines the musical elements in the divans of poets from the Ebuishak-zade family, one of the established families of the Ottoman scholarly class, who served as sheikhs al-Islam and held a divan. While debates surrounding the religious rulings of music continue, the artistic inclusion of music in the divans of these figures at the height of fatwa status is an important research topic, demonstrating the integration of science and art in the Ottoman Empire. The scope of this study is limited to the divans of Şeyhülislam İshâk Efendi, Şeyhülislam Mehmed Es'ad Efendi, Şeyhülislam Mehmed Şerif Efendi, Fıtnat Zübeyde Hanım, and Şeyhülislam Mehmed Ataullâh Efendi from the Ebuishak-zade family. The presence of these poets, especially Es'ad Efendi, who wrote a separate anthology of musicians such as Atrabü'l-Asar, reveals the family's deep connection to music. These divans were examined using a textual scanning method; the identified instruments, makams, usuls, and terms were defined in light of sources in Classical Turkish music theory, and their use within the couplets was analyzed along with literary techniques and layers of meaning. The research reveals that these learned poets employed music not only as a poetic tool but also as a symbolic language reflecting the spiritual states of the soul, the longing for divine love, and the monotheistic order of the universe. Their treatment of instruments as reflections of human states and their tevriya-based use of makams, taking into account their theoretical characteristics and influences, demonstrate their mastery of musical science. Therefore, this study aims to reveal how musical elements, integrated with the poets' worldview and spiritual experiences, functioned as a means of expressing religious and Sufi content through artistic language.