Comparative analysis of the Mushaf-i Sharifs numbered A. 5 and E. H. 58 in Topkapı Palace Museum Library in terms of illumination art

At the end of the 15th century, the Ottoman Empire was the place where the pre-classical change in both works of art and cultural movements intensified, and experienced its golden age in the 16th century. As a result of the importance given by the sultans to art and the patronage of artists, rare works of book arts that will survive for centuries have been produced. During the reign of Sultan Bayezid II, the innovations introduced by Sheikh Hamdullah in the art of calligraphy were also reflected in illuminated pages in book arts. The illuminated Mushafs presented as gifts to the sultans represent the finest examples in terms of the art of illumination. One of these works is the Holy Qur'an, numbered A. 5 in the Topkapı Palace Museum Library, which Sheikh Hamdullah had transcribed for Sultan Bayezid's recitation and illuminated by Hasan b. Abdullah. Another is the Holy Qur'an numbered E. H. 58 in the Topkapı Palace Museum Library, which Abdullah b. Ilyas transcribed for the recitation of Suleiman the Magnificent and illuminated by Bayram b. Dervish Shir. With their splendid appearance, these Mushafs reveal the artistic taste of the period at its peak. In the sources containing information about the artisans, it is reported that the calligraphers and musahibs of the Mushafs were each other's contemporaries and carriers of their traditions. In our study, general information about the political, scientific, cultural and artistic outlook of the Ottoman Empire in the early classical period and the classical period was given, and Mushafs, calligraphers and illuminators were briefly introduced. Comparative analyses of the illumination of zahriyeh, serlevha, sûrebaşı, mushaf roses, durak and ketebe pages of Mushafs have been made. In the thesis prepared in the light of these researches, it is aimed to determine the differences in artistic characteristics and their effects on the designs of the artists in relation to the years in which the decorations of the Mushafs were made, and the similarities or differences in style such as pattern, composition, colour in the designs of two musehhibs who followed each other as a tradition.