For an illustration of this work, see Osmanli sanatinda hat. Catalogue by Jurgen Wasim Frembgen and others. Exhibition, Staatliches Museum für Volkerkunde München. 228–41 in the same volume and The Aura of Alif: The Art of Writing in Islam. "Calligraphy and Sufism in Ottoman Turkey." In The Dervish Lodge: Architecture, Art, and Sufism in Ottoman Turkey, edited by Raymon Lifchez, pp. 67.266.7.8r) for the Bellini Album, of which the peacock calligram is part, see acc. The Metropolitan’s collection also contains a peacock calligram dedicated to an Ottoman ruler (acc. For more on Ottoman pictorial calligraphy, see ibid., pp. For more on the use of pictorial writing on the Indian subcontinent, see ibid., pp. 10.15) of perhaps the best-known Persian example, a lion composed of verses of the Nad-i ‘Ali (an invocation of ‘Ali). 449–56 (and related footnotes), which includes an image ( p. For a summary of "pictorial writing" in Persia, see Blair 2006, pp. Denise-Marie Teece and Karin Zonis in Footnotes: 3. And, the image at hand likely represents one of the Ottoman fleet’s newly fashioned military galleons, outfitted with numerous cannons for battle and shielded from harm by the Ashab al-Kahf. The Ottoman navy is said to have been dedicated to the Seven Sleepers. According to recent scholarship, both hadith (sayings of the Prophet Muhammad) and tafsir (commentaries on the Qur’an) describe the protective qualities associated with the Seven Sleepers and related Qur’anic verses-among them, the belief that if the names of the Sleepers were inscribed upon a ship, it would be protected from sinking. This practice may be due to the apotropaic qualities associated with these names. The names of the Seven Sleepers also appear on talismanic pendants and amulets, even under inkwell lids. While no mention of a ship is made in the story, Ottoman artists have incorporated the Sleepers’ names into the depiction of ships since at least the seventeenth century. In the Qur’an the story is recounted within Sura 18 (al-Kahf, "The Cave") verses 9–26. It tells of a group of six young Christian men, a shepherd, and the shepherd’s dog, who sleep for centuries within a cave, protected by God from religious persecution. The story of the Sleepers is found in pre-Islamic Christian sources. In the Metropolitan’s galleon, the golden inscriptions of the hull comprise the names of the Seven Sleepers, referred to in Arabic as the Ashab al-Kahf (The Companions, or People of the Cave). Additional examples of calligraphic vessels are known, including a late seventeenth-century drawing of an oared ship signed and dated by Isma‘il Derdi, today in the Topkapı Palace Museum, Istanbul. Among certain sufi orders of Turkey, some of these word pictures were considered to have mystical significance and often adorned the walls of dervish lodges and other ritual spaces. These images take on a wide variety of forms, such as lions, horses, storks, peacocks, dervish headgear, mosques, and ships. Referred to as calligrams, images composed entirely from calligraphy were created in many regions of the Islamic world, including Persia and India, but were especially popular in Ottoman Turkey. Calligraphic Galleon Sweeping golden calligraphy forms the hull of this galleon, at sail upon a sea composed of miniscule ghubar (dustlike) script.
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