Özet:

Numerous manuscripts in Islamic civilization, primarily with their content, had the feature of being a source in their period and almost gave direction to the field they were written. These works have also found a place for themselves as masterpieces in terms of book arts. With the conversion of the Turks to Islam, the richness of the content and decorative arts in the manuscripts continued exponentially. Undoubtedly, Muslim Turkish artists’ endless respect for books as well as science is seen as an important factor in the manuscripts’ becoming unique examples of calligraphy, illumination, miniature and binding art. In this sense, it is a sacred duty for all Muslim Turks to commemorate our glorious ancestors once again with blessings and gratitude. Because they were not only successful on the battlefields but also, they created the manuscripts that are the peak of art and successfully represented the Turkish-Islamic Art, which has an indisputable place in World Art History. As mentioned, the respect for books in Turkish-Islamic Civilization shows itself with the care in the ornaments of these works. This respect and care have been demonstrated with the best examples, especially in the Holy Quran. Mushafs, the first ornamented examples of which were encountered at the end of the Umayyad Period and the beginning of the Abbasid Period, continued to develop in the hands of Muslim Turkish artists in the following centuries and reached their classical norms. At this point, as in almost every other field, the Ottoman Period appears with a unique style in book ornamentation. Mushaf ornamentation, which reached its peak in the classical Ottoman style in the 16th century, lasted until the middle of the 17th century. One of the most important parts of the Mushaf illumination is undoubtedly the surah heads. The surah heads are the titles that explain the names of the surahs, the place where they were revealed, the count of verses and the number of surahs. The surah heads, which were previously shown only in writing, began to be written and illuminated inside a rectangle form above the surah in time. Apart from the Fatiha and Bakara Surahs in the Qur'an, the head of the other 112 surahs is illuminated in the same way and with the art style of its own period. The artwork, which is the subject of our study, belongs to the XVII century and is in the Süleymaniye Manuscript Library. The illuminations of the surah heads were examined in the manuscript Qur'an with inventory number of 00001 belonging to the Fazıl Ahmed Pasha Collection which was selected among hundreds of artworks. The surah heads of this manuscript Quran in which all 114 surahs are illuminated together with the heading have been examined in terms of pattern, color, motif and stylistic features. The place of this artwork in its own period has been tried to determine by comparing the other artworks belonging to three different collections in the same library in terms of some of the surah head illuminations.

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