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| museum = Topkapi Palace Museum
| museum = Topkapi Palace Museum
| city = Istanbul
| city = Istanbul
}}General surviving works of Mehmed II's portraits are quite limited,{{sfn|Necipoğlu|2010|p=275}} let alone documentation on those by Sinan Bey and his student Şiblizade Ahmed of Bursa. Due to its remarkable fame, '''''Portrait of Mehmed II Smelling a Rose (ca. 1480-81)''''' is the only work that is officially known to be painted by either the master or the pupil, others are all unsigned, whose attribution could only be based on uncertain scholarly guess (pp. 274).<ref name=":2" />
}}General surviving works of Mehmed II's portraits are quite limited (pp. 275),<ref name=":4" /> let alone documentation on those by Sinan Bey and his student Şiblizade Ahmed of Bursa. Due to its remarkable fame, '''''Portrait of Mehmed II Smelling a Rose (ca. 1480-81)''''' is the only work that is officially known to be painted by either the master or the pupil, others are all unsigned, whose attribution could only be based on uncertain scholarly guess (pp. 274).<ref name=":2" />


'''''Portrait of Mehmed II Smelling a Rose (ca. 1480-81)'''''
'''''Portrait of Mehmed II Smelling a Rose (ca. 1480-81)'''''
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}}'''''Bust Portrait of Mehmed II, (ca. 1478–81)'''''
}}'''''Bust Portrait of Mehmed II, (ca. 1478–81)'''''


Dated approximately between 1478–81, this painting does not have a signature, and it is attributed to Sinan Bey by Julian Raby.{{sfn|KONAK|2013|p=427}} It is a rectangular "close copy of either [[Costanzo da Ferrara|Costanzo]]'s medal or a lost painting by him,".{{sfn|Necipoğlu|2010|p=275}} As mentioned above, the artist was not only domesticating foreign technique, but also material, which is manifested by the use of gold background which recalls the tradition in Byzantine art{{sfn|Necipoğlu|2010|p=275}} and "mosaics in its abstract quality".<ref>Contadini, Anna, ‘The Middle Eastern Intellectual and Artistic Context at the Time of Ariosto’. In ''ARIOSTO AND THE ARABS: Contexts for the Orlando Furioso'', edited by Mario Casari, Monica Preti, and Michael Wyatt, 268. Italy: Officina Libraria, 2022.</ref> Similar to the next work addressed in this section, the artist chose watercolor as the main medium for his fine brushwork. The work is currently part of Topkapı Palace Museum Library's collection in Istanbul.
Dated approximately between 1478–81, this painting does not have a signature, and it is attributed to Sinan Bey by Julian Raby.{{sfn|KONAK|2013|p=427}} It is a rectangular "close copy of either [[Costanzo da Ferrara|Costanzo]]'s medal or a lost painting by him,"(pp. 275).<ref name=":4" /> As mentioned above, the artist was not only domesticating foreign technique, but also material, which is manifested by the use of gold background which recalls the tradition in Byzantine art (pp.275)<ref name=":4">Necipoğlu, Gülru, ‘[https://www.academia.edu/42026186/From_Byzantine_Constantinople_to_Ottoman_Kostantiniyye_Creation_of_a_Cosmopolitan_Capital_and_Visual_Culture_Under_Sultan_Mehmed_II From Byzantine Constantinople to Ottoman Kostantiniyye: Creation of a Cosmopolitan Capital and Visual Culture Under Sultan Mehmed II]’. In ''From Byzantion to Istanbul: 8000 Years of a Capital'', edited by Cagatay Anadol, 262-277. Turkey: Ilke Basin Yayin, 2010.</ref> and "mosaics in its abstract quality".<ref>Contadini, Anna, ‘The Middle Eastern Intellectual and Artistic Context at the Time of Ariosto’. In ''ARIOSTO AND THE ARABS: Contexts for the Orlando Furioso'', edited by Mario Casari, Monica Preti, and Michael Wyatt, 268. Italy: Officina Libraria, 2022.</ref> Similar to the next work addressed in this section, the artist chose watercolor as the main medium for his fine brushwork. The work is currently part of Topkapı Palace Museum Library's collection in Istanbul.


{{Artwork
{{Artwork
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*{{Cite journal |last=Batuhan |first=Tuğba |date=2020 |title=Materiality of Mehmet II Smelling A Rose Based on Gentile Bellini’s Painting with Cultural Perspective |url=https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/6D9B651C19FD4A5DA811A17C049782AF |journal=Art-sanat dergisi |publisher=Istanbul University |volume=14}}
*{{Cite journal |last=Batuhan |first=Tuğba |date=2020 |title=Materiality of Mehmet II Smelling A Rose Based on Gentile Bellini’s Painting with Cultural Perspective |url=https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/6D9B651C19FD4A5DA811A17C049782AF |journal=Art-sanat dergisi |publisher=Istanbul University |volume=14}}
* {{Cite book |last=Fabris |first=Maria Pia Pedani |title=In nome del Gran Signore : inviati ottomani a Venezia dalla caduta di Costantinopoli alla guerra di Candia |date=1994 |publisher=Deputazione editrice |location=Venezia |language=Italian}}
* {{Cite book |last=Fabris |first=Maria Pia Pedani |title=In nome del Gran Signore : inviati ottomani a Venezia dalla caduta di Costantinopoli alla guerra di Candia |date=1994 |publisher=Deputazione editrice |location=Venezia |language=Italian}}
* {{Cite book |last=Necipoğlu |first=Gülru |title=From Byzantion to Istanbul: 8000 Years of a Capital |publisher=Ilke Basin Yayin |location=Turkey |year=2010 |editor-last=Rasmussen |editor-first=Cagatay Anadol |pages=36–104 |chapter=From Byzantine Constantinople to Ottoman Kostantiniyye: Creation of a Cosmopolitan Capital and Visual Culture Under Sultan Mehmed II |url=https://www.academia.edu/42026186/From_Byzantine_Constantinople_to_Ottoman_Kostantiniyye_Creation_of_a_Cosmopolitan_Capital_and_Visual_Culture_Under_Sultan_Mehmed_II |pages=262–77}}
*{{Cite book |last=Madar |first=Heather |title=Prints as Agents of Global Exchange: 1500-1800 |publisher=Amsterdam University Press |year=2021 |pages=75-76 |language=English}}
*{{Cite book |last=Madar |first=Heather |title=Prints as Agents of Global Exchange: 1500-1800 |publisher=Amsterdam University Press |year=2021 |pages=75-76 |language=English}}
*{{Cite journal |last=KONAK |first=Ruhi |date=2013 |title=Osmanli Mi̇nyatür Sanatinda Padi̇şah Portreci̇li̇ği̇ni̇n İlk öRnekleri̇ Ve Geleneğe Katkilari |trans-title=In Ottoman Miniature Art, The First Examples of Sultan Portraiture and Contributions to the Tradition |journal=Turkish Studies |language=Turkish |publication-place=Ankara, Turkey |volume=8 |issue=5 |pages=425-439 |issn=13082140}}
*{{Cite journal |last=KONAK |first=Ruhi |date=2013 |title=Osmanli Mi̇nyatür Sanatinda Padi̇şah Portreci̇li̇ği̇ni̇n İlk öRnekleri̇ Ve Geleneğe Katkilari |trans-title=In Ottoman Miniature Art, The First Examples of Sultan Portraiture and Contributions to the Tradition |journal=Turkish Studies |language=Turkish |publication-place=Ankara, Turkey |volume=8 |issue=5 |pages=425-39 |issn=13082140}}

== External links ==
== External links ==
* [https://www.poetryfoundation.org/poetrymagazine/browse?volume=182&issue=5&page=28 The poem of Mehmet Sniffing a Rose] by Lillias Bever, a poem based on the painting ''Portrait of Mehmed II Smelling a Rose (ca. 1480-81)''.
* [https://www.poetryfoundation.org/poetrymagazine/browse?volume=182&issue=5&page=28 The poem of Mehmet Sniffing a Rose] by Lillias Bever, a poem based on the painting ''Portrait of Mehmed II Smelling a Rose (ca. 1480-81)''.

Revision as of 22:39, 11 April 2024

Nakkaş Sinan Bey (also sometimes referred to as "Sinan Beg") was an Ottoman court miniature painter who lived in the 15th century during Mehmed II's reign. Trained by a European master Maestro Pavli (Paolo da Ragusa), a critically lauded artist in Venice,[1] Sinan Bey and his later students (such as Şiblizade Ahmed of Bursa) both specialized in Pavli's field — portraiture — a brand new artistic genre in Ottoman history and tradition[2]. Together, they are known for synthesizing Eastern and Western aesthetics with the application of new materials, techniques, and themes from the European to represent their native culture.[3][2]

Life

The world of Sinan Bey and his career is shaped by the ruling of Mehmed II, particularly his cosmopolitan vision and tendency towards integrating Europeanate pictorial elements into the indigenous representation of himself and the entire empire, which stemmed from his wish to foster intercultural relations and political alliances.[4]

Growing up in Mehmed II’s court, Sinan Bey enjoyed an elite education and was employed in several important positions, functioning both as an artist and a diplomat for the Ottoman Empire. In his early years, Sinan Bey was either “sent abroad for training or trained with Maestro Pavli in the sultan’s palace,” not only developing in his area of profession, but also widening his ken and globalizing his awareness in general.[2]

Sinan Bey's training in Italy equipped him with mastery in foreign painting techniques, where he was able to absorb Italian Renaissance fashion and adapt it to the artistic practices of his own culture. From there, Sinan Bey became the sultan's favorite court painter (according to the documentation on his undated gravestone in the Bursa Museum[5]), as well as an ambassador between the two regions. His artistic practices contributed to creating "an Ottoman pictorial manner that is distinctively Rūmī (i.e., pertaining to the lands of [Eastern] Rome, comprising Anatolia and the Balkans)".[6] Furthermore, his occupation as a court interpreter[7] and diplomatic undertaking in Venice[8] suggests that he also mastered verbal translation across cultures as he did for that of visual.[2]

Important works

Portrait of Mehmed II Smelling a Rose
ArtistSinan Bey or Siblizade Ahmed
Year1480-81
MediumWatercolor on paper
Dimensions390 × 270 mm
LocationTopkapi Palace Museum, Istanbul

General surviving works of Mehmed II's portraits are quite limited (pp. 275),[9] let alone documentation on those by Sinan Bey and his student Şiblizade Ahmed of Bursa. Due to its remarkable fame, Portrait of Mehmed II Smelling a Rose (ca. 1480-81) is the only work that is officially known to be painted by either the master or the pupil, others are all unsigned, whose attribution could only be based on uncertain scholarly guess (pp. 274).[10]

Portrait of Mehmed II Smelling a Rose (ca. 1480-81)

The painting Portrait of Mehmed II Smelling a Rose was created based on Portrait of Mehmet II (ca. 1480) by famous Italian painter Gentile Bellini, but with an unusually small scale.[11] The work does not have a definitive attribution to its authorship, given that very little is known about the imperial atelier of Mehmed II. It is widely referred to as a work by Sinan Bey or his pupil Sibilzade Ahmed of Bursa by scholars specialized in Ottoman studies. Nevertheless, the painting exhibits a paradigmatic artistic style of the Near East, which makes this general assumption fairly plausible (pp. 296).[12]

In his depiction, the artist transforms Bellini's work into a full-body portrait, but was done without an accurate anatomical proportion.[13] Applying a Timurid rendering to the depiction of the sultan, the frontal, cross-legged pose of the sultan, the iconography of flower, handkerchief, and archer’s thumb ring are typical stylistic features observed in a Timurid royal portraiture (pp. 28).[14] Add some detailed analysis from the source "Venice and the Islamic World" on these iconography or at least refer to the source here (pp. 296).

Portrait of Mehmet II
ArtistGentile Bellini
Year1480
MediumOil on canvas
Dimensions70 cm × 52 cm (28 in × 20 in)
LocationNational Gallery, London

Above all, the sultan's facial characteristics in the two paintings are particularly alike, given this Ottoman piece demonstrated the application of modeling and volume, two techniques associated with the flourishing style during the Italian Renaissance.[15] With the aforementioned cultural pluralism that permeated Ottoman art-making practices during Mehmed II's ruling period, this painting is well-known for being an empirical example of such a phenomenon. It is, as well, a pictorial sign that Mehmed is fostering an unprecedentedly fertile ground for portraiture art to thrive (pp. 296)[12] while creating an "Ottoman idiom in portraiture that would stand out from both Italianate and Persianate models (pp. 29)."[14] A poem called Mehmet Sniffing a Rose by Lillias Bever specifically dedicated to the description and commentary on the painting, giving detailed account of the painting's characteristics while satirizing the hidden cruelty of Mehmed II under his delicate gesture of sniffing a rose.

Seated Painter
ArtistSinan Beg (attr.)
Yearca. 1478–81
MediumWatercolor and gold on paper
LocationFreer Gallery of Art, Smithsonian Institution, Washington, D.C.
AccessionF1932.28

Bust Portrait of Mehmed II, (ca. 1478–81)

Dated approximately between 1478–81, this painting does not have a signature, and it is attributed to Sinan Bey by Julian Raby.[16] It is a rectangular "close copy of either Costanzo's medal or a lost painting by him,"(pp. 275).[9] As mentioned above, the artist was not only domesticating foreign technique, but also material, which is manifested by the use of gold background which recalls the tradition in Byzantine art (pp.275)[9] and "mosaics in its abstract quality".[17] Similar to the next work addressed in this section, the artist chose watercolor as the main medium for his fine brushwork. The work is currently part of Topkapı Palace Museum Library's collection in Istanbul.

First medal of Mehmet II
ArtistCostanzo da Ferrara (Italian, Venice ca. 1450–after 1524 Naples (?))
Year1477-80
MediumBronze
Dimensions11.5 cm diameter (4.5 in)
LocationThe National Gallery of Art, Washington DC

Seated Painter (ca. 1478–81)

The authorship of this painting is highly contested. It is attributed to Sinan Bey by Julian Raby and other specialists in Ottoman painting,[18] while the official page for this exhibit on the museum's website does not acknowledge any author for the work.

Different from the other two works addressed in this section, the subject of this painting is not the sultan, but an anonymous Turkish painter.

Reputation

The

References

Second Medal of Mehmed II
ArtistCostanzo da Ferrara
Year1478-81
Dimensions11.5 cm diameter (4.5 in)

Citations

  1. ^ Akın 2011, p. 273-4.
  2. ^ a b c d Necipoğlu 2012, p. 4.
  3. ^ Ágoston 2009, p. 266–7.
  4. ^ Necipoğlu 2012, p. 4, 55.
  5. ^ Necipoğlu 2012, p. 55.
  6. ^ Necipoğlu 2012, p. 37.
  7. ^ Raby 1980, p. 339.
  8. ^ Fabris 1994, p. 41, 62, 90, 107.
  9. ^ a b c Necipoğlu, Gülru, ‘From Byzantine Constantinople to Ottoman Kostantiniyye: Creation of a Cosmopolitan Capital and Visual Culture Under Sultan Mehmed II’. In From Byzantion to Istanbul: 8000 Years of a Capital, edited by Cagatay Anadol, 262-277. Turkey: Ilke Basin Yayin, 2010.
  10. ^ Cite error: The named reference :2 was invoked but never defined (see the help page).
  11. ^ Batuhan 2020, p. 6.
  12. ^ a b Institut du Monde Arabe (Paris, França) (2007). Carboni, Stefano (ed.). Venice and the Islamic World, 828-1797. Metropolitan Museum of Art. ISBN 9780300124309.
  13. ^ Necipoğlu 2012, p. 38.
  14. ^ a b Necipoğlu, Gülru, ‘The serial portraits of Ottoman sultans in comparative perspective’. In The Sultan’s Portrait: Picturing the House of Osman, edited by Editor Selmin Kangal, pp. 28–29. Istanbul: İşbank, 2000.
  15. ^ Madar 2021, p. 75.
  16. ^ KONAK 2013, p. 427.
  17. ^ Contadini, Anna, ‘The Middle Eastern Intellectual and Artistic Context at the Time of Ariosto’. In ARIOSTO AND THE ARABS: Contexts for the Orlando Furioso, edited by Mario Casari, Monica Preti, and Michael Wyatt, 268. Italy: Officina Libraria, 2022.
  18. ^ Necipoğlu 2012, p. 42.

General and cited source

  • Akın, Esra (2011-08-11). Mustafa Âli's Epic Deeds of Artists: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World (1st ed.). BRILL. pp. 273–4. ISBN 9789004178724.

Other References (Currently not addressed in the writing above)

Publications and Journals by Julian Raby:

  • Raby, Julian. Venice, Dürer, and the Oriental Mode. N.p.: Islamic Art Publications, 1982.
  • Raby, Julian. “Meḥmed the Conqueror’s Greek Scriptorium.” Dumbarton Oaks Papers 37 (1983): pp. 15–34.
  • Raby, Julian. “Pride and Prejudice: Meḥmed the Conqueror and the Italian Portrait Medal.” In Italian Medals, edited by J. Graham Pollard, pp. 171–194 Studies in the History of Art 21. Washington, DC: National Gallery of Art, 1987.

Journals in Turkish:

  • Hazırlayan and Nagihan GÜNDÜZ, "Osmanli Dönemi̇: Türk Mi̇nyatür Sanatinin ÇAğdaş Türk Resmi̇ne Etki̇leri̇" [The Effects of Ottoman Miniature Art on Contemporary Turkish Painting].
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