Analysis of Ottoman miniatures featuring handicrafts in Sûrnâme-i Hümâyûn

Sûrnâme-i Hümâyûn (İntizâmî Sûrnâmesi 1582, TSMK H.1344) is a very rich source in terms of Ottomon Cultural Life, Art History and Literature History. It is a manuscript about the circumcision feast of the son of Sultan Murad Khan the III. The miniatures of craftsmen in the context of form, content and colour analysis have been researched in the scope of the thesis. The miniatures of profession experts and handicrafts and their characteristics in Sûrnâme-i Hümâyûn such as Sugar Figures (24b-25a), Glassmakers (32b-33a), Abu Ayyub al-Ansari Dervishes, Old Bezistan Shopkeepers (79b-80a), Waistcloth Weavers (81b-82a), Stonemasons (99b-100a), Mirror Artisans (105b-106a), Model of Süleymaniye Mosque (190b-191a), Calligraphers (213b-214a), Box Makers (217b-218a), Coppersmiths (254b-255a), Engravers (268b-269a), Simurgh Bird (280b-281a), Inkstand Craftsmen (326b-327a), Silk Weavers (330b-331a), Chest Craftsmen (369b-370a), Jewellers (356b-357a), Potters (405b-406a) have been examined. The features in Sûrnâme-i Hümâyûn, the features of the place, the colors used and the scenes are emphasised. The elements that establish spatial depth have been examined. The miniatures of Sûrnâme-i Hümâyûn that survived until today from the XVI. century present the era's characterictics, the clothes of craftsmen, colour usage in their clothing and the establisment of the venue and everthing that happened at the hippodrome that circumcision feast took place. All the emotions, thoughts and images intended to be given in the miniatures have been examined in terms of form, content and colour. The research process of the thesis has been embarked upon by searching the sources. Topkapı Palace has been contacted in order to reach the source of the related subject however, due to the pandemic, the manuscript could not be examined on its site. When the manuscript was wanted to be examined on the site itself after the pandemic, no permit was given as the manuscript was in the process of counting. Artefact inventory information of the manuscript, its first 100 leaves and 7 pages with miniatures that are not to be found in the literature were provided by Topkapı Palace via email. Most of the miniatures were obtained from the book Sûrnâme-i Hümâyûn which was registered with the number H.1344 in the National Palaces Administration Archive (Topkapi Palace Manuscripts and Printed Works Collection) and from N. Atasoy's book called "1582 Sûrnâme-i Hümâyûn Düğün Kitabı (1582 Sûrnâme-i Hümâyûn Wedding Book)" In the first part of the study, the definition of Ottoman miniature art, its history, making, and main characteristics were explained. The works from the beginning of Turkish Miniature Art to Ottoman Miniature Art were mentioned. In the second part of the study, the definition and the history of Sûrnâme have been researched. The information regarding the Surnames with or without miniature art survived to this date has been given. The differences and features of Sûrnâme-i Hümâyûn has been laid emphasis on and Nakkaş's depiction tecnique following his analysis of Sûrnâme-i Hümâyûn has been determined. The technical material used, colour variations etc. have been analysed based on the cultural characteristics of the era. In the third part, the catalog section, which constitutes the main part of the thesis; miniatures of handicrafts presented at the parade in the hippodrome have been introduced. In the fourth part of the study, miniatures in Sûrnâme-i Hümâyûn which are about handicrafts have been compared and evaluated in the context of their own pages under the titles of evaluation, comparison and conclusion. The influence that Sûrnâme-i Hümâyûn had on Sûrnâme-i Vehbî and their similarities and differences have been mentioned. Sûrnâme-i Hümâyûn and Sûrnâme-i Vehbî have been compared in terms of their layout (composition), dept (perspective), lines, colours and light properties. In conclusion, although they are a century apart, it has been seen that Sûrnâme-i Hümâyûn and Sûrnâme-i Vehbî are works in the nature of documents that are sources to the Ottoman period which survived until present day. Nakkaş Osman and Levnî contributed a lot to the Ottoman miniature art in terms of layout and colour. Key Terms: Hippodrome, Nakkaş, Miniature Art, Sûrnâme, Sûrnâme-i Hümâyûn, Topkapı Palace Museum Library.