Analysis of Miniatures of Nakkaş Osman in the III. Murad Period by Iconographic and Iconological Criticism Method (Instance of Sûrnâme-i Hümâyûn and Kıyafetü’l-İnsaniye fi Şemailü’l-Osmaniye)

Nakkaş Osman, one of the best known Ottoman period artists with his artistry, works and innovations he brought to miniature art, draws attention with his unique style. Nakkaş Osman, who has miniatures are in many manuscripts, stands out especially with his new composition approaches and serial sultan portraits. In the period of Sultan III. Murad, with the cooperation of Seyyid Lokman and Nakkaş Osman, intensive work was carried out in the palace workshop and many miniature manuscripts were prepared. In this study, two miniatures of Nakkaş Osman, selected from two different manuscripts, were analyzed with the method iconographic and iconological criticism. The works in question; Portrait of III. Murad from the Kıyafetü’l-İnsaniye fi Şemailü’l-Osmaniye, miniature depicting the scene of the pillage from the Sûrnâme-i Hümâyûn manuscript. The reason for choosing these miniatures is; In addition to being difference in the subject and style, Sultan III. Murad’s being a common figure allows the examination of the similarities and differences in the details of the painting. Kıyafetü’l-İnsaniye fi Şemailü’l-Osmaniye, whose work was started in the previous periods and completed in the period of Sultan III. Murad, is a manuscript containing portraits of twelve sultans in total. Sûrnâme-i Hümâyûn, on the other hand, is a documentary book about the circumcision festivals organized by Sultan III. Murad for his prince Mehmed and enriched with miniatures. Here, two miniatures taken from these two manuscripts are handled and analyzed according to the three stages of iconographic and iconological criticism method.

Keywords

Nakkaş osman, analysis of works, miniature.