Loading ...
Sorry, an error occurred while loading the content.

Guy i Cevgan

Expand Messages
  • senefru1
    I have created a photo album named Guy i Cevgan containing 2 photos, I wonder which one of them is Arifi s (Guy i Cevgan)marbled paper, I was searching for
    Message 1 of 3 , May 6 11:55 PM
    • 0 Attachment
      I have created a photo album named "Guy i Cevgan" containing 2 photos,
      I wonder which one of them is Arifi's (Guy i Cevgan)marbled paper, I
      was searching for this 1539 Ottman marbling example, but I found these
      two photos carrying the same name and date. please if any one knows the
      true "Guy i Cevgan" tell me

      thanks
    • Jake Benson
      Salaam Haytham, Please accept my apologies for not responding to your message sooner. It came right at the end of the semester, and took me some time to write
      Message 2 of 3 , Jun 18, 2008
      • 0 Attachment
        Salaam Haytham,

        Please accept my apologies for not responding to your message sooner.
        It came right at the end of the semester, and took me some time to write
        a good, thorough reply. Also, if the characters do not display
        correctly in this message, please let me know and I can send it to you
        off-list.

        Yes, both the painting and the page of découpage calligraphy
        (qati' in Arabic and Farsi, kât'i in Modern Turkish) that you
        posted is definitely from the Guy-i Çevgân (TSM Hazine 845, dated
        946 AH/ 1539-40 CE). This image can be found, albeit unidentified in
        another folder posted by memebr "Ebrucu33" "Images of historic
        marbling/turkey"
        <http://ph.groups.yahoo.com/group/Marbling/photos/view/6179?b=7> (As an
        aside, it would be nice if "Ebrucu33" would kindly take the time to
        identify the images posted therein with their descriptions and sources,
        as no one else can edit that album).

        This name Guy-i Çevgân is actually the Turkicized transliteration
        of the Persian title Gû-ye Chowgân (گوی چوگان),
        translated to mean "Polo Ball and Mallet". This famous masnavi poem is
        also entitled "Hâlnâmeh" (حالنامه) or "Book of
        Ecstasy", as the object of the game is a metaphor for reaching a state
        of ecstasy. It was composed in A.H. 842 (A.D. 1438-39) by the poet
        'Arifî (d. 1449), who lived in Herat, the last capital of the
        Timurids. The text of this poem was translated into English a few years
        ago by Dr. Wheeler Thackston and Hossein Ziai, and published by Mazda
        publishers in California:
        <http://www.mazdapublisher.com/BookDetails.aspx?BookID=149>.

        The page that you posted has been published in Nedim Sönmez' book
        Ebru: The Turkish Art of Marbling (published in German, Turkish, and
        English editions). There is an enlarged image reproduced on page 8, and
        a smaller image of two leaves on page 25. Unfortunately, the exact
        folio numbers of the manuscript are not provided, but I can tell you
        that the image depicts stanzas 332-346 (abyât) of the poem.
        Furthermore, the caption in Sönmez' book mistakenly attributes the
        work to the 17th c. Ottoman calligrapher Hafiz Osman; it is actually the
        work of the 16th c. découpage artist Mehmed bin Gazanfer.

        Different leaves from the same manuscript have also been published by
        Metin Sözen in his book Arts in the Age of Sinan (Istanbul:
        Kültür ve Turizm Bakanligi, 1988). A similar gold
        sprinkled (zarafshân) is reproduced in a brief chapter entitled
        "Marbling-Ebru" on pages 154-55. While the captions in Sözen's book
        correctly attribute the work to Mehmed bin Gazanfer, the exact folios
        numbers of the manuscript are once again not provided. In any case they
        are of stanzas 78-94 of the poem. Sözen has also reproduced the
        opening lines of the poem (dibacheh) of the manuscript on pages 152-53,
        of stanzas 1-9. Looking at it again just now, I see that stanza 14 has
        been inserted in between stanzas 7 and 8. It may be that the artist did
        this so as to provide a symmetrical layout of 10 stanzas for the opening
        pages, as well as the fact that a new section entitled "Proclaiming the
        Real as One" (Ham dar Tawhîd-e Hazrat-e Haqq) commences with stanza
        10. Another leaf on pp 202-3 which depict stanzas 56-61. None of the
        borders of these other leaves are marbled; the dibacheh is gold-flecked
        and the second leaf is stenciled in the spattered technique that I
        recently mentioned on this list a few weeks ago.

        The image of the painting that you posted are definitely Ottoman, and
        are typical of those seen in manuscript copies of this poem. That said,
        all of the other features of this manuscript are closer to Safavid
        styles that in turn imitate Timurid ones. We really don't know much
        about Mehmed bin Gazanfer except what can be gleaned from his works. A
        brief account has been published by Gülbün Mesara, the daughter of
        the late Turkish art historian Süheyl Ünver, in her small
        publication Türk Sanatinda Ince Kagit
        Oymaciligi (Kati') on pages 11-12. His name suggests that
        his family originally came from Kazan. We know that he was an Ottoman
        subject as he wrote a poem in praise of Sultan Süleyman (but not on
        marbled paper) We really can't say for certain that he made the marbled
        paper used in this manuscript either. Another similar example can be
        found in a compendium of 40 Hadith by Abdül Hayif Ali, which is
        also written in découpage calligraphy, that was dedicated to
        Sehzade Mehmed (TSKM E.H. 2851, fol. 2a). See Esin Atil, Arts
        in the Age of Süleyman the Magnificent, illustration 18b.

        Thanks for posting the image of the painting from this manuscript, as
        for ONCE, the folio numbers have been given by the photographer, 35a
        34b!

        Here is the original link:

        <http://photographersdirect.com/buyers/stockphoto.asp?imageid=1216706>

        While the late Nüsret Hepgül included this manuscript in his
        survey of manuscripts, he did not state which folios feature
        specifically marbled papers, nor could he read the colophon to be able
        to tell us more about the ms. I would love to know if any other leaves
        from this manuscript have been published. Access to it has been
        restricted for a long time now as it is very fragile.

        Salamaat,

        Jake Benson

        --- In Marbling@yahoogroups.com, "senefru1" <senefru1@...> wrote:
        >
        >
        > I have created a photo album named "Guy i Cevgan" containing 2 photos,
        > I wonder which one of them is Arifi's (Guy i Cevgan)marbled paper, I
        > was searching for this 1539 Ottman marbling example, but I found these
        > two photos carrying the same name and date. please if any one knows
        the
        > true "Guy i Cevgan" tell me
        >
        > thanks
        >



        [Non-text portions of this message have been removed]
      • haytham kamal
        Thank you Jake for the rich information [Non-text portions of this message have been removed]
        Message 3 of 3 , Jun 19, 2008
        • 0 Attachment
          Thank you Jake for the rich information




          [Non-text portions of this message have been removed]
        Your message has been successfully submitted and would be delivered to recipients shortly.