REFLECTIONS OF SELJUK BOOKBINDING STYLE ON THE 15TH CENTURY OTTOMAN BINDINGS (EXAMPLES OF ÇORUM HASAN PASHA MANUSCRIPT LIBRARY)

Abstract

Binding is the general name of the book covers, which both have protective qualities and give aesthetic pleasure to the eyes with the decoration applied on it. According to the binding fragments found in Chotscho, the Turkish binding art must have started in Central Asia. These bindings set an example for Turkish bindings produced after it, both technically and in terms of decoration. Seljuk Turks, who came to Anatolia from Central Asia, brought this art with them and developed it here. The bookbinders of the period produced many decorated bookbindings during this period and formed the Seljuk style of binding. The medallion is generally in circular form and is located at the center point of the cover. From an ornamental point of view, the decoration of the front and back cover in a different way is the main feature that distinguishes Seljuk binding from other period bindings. The preference for different types of decoration in the border decorations is also one of the distinguishing features of the Seljuk binding style. Seljuk bindings also attract attention in terms of the material used in the inside of covers and the motif applied. Generally, the inside of the cover is covered with leather. There are full geometric and rūmī patterns on the inside of the cover. The effect of Seljuk binding style on Anatolian Principalities, especially Karamanids, has been determined by various studies. These effects and reflections continued in Turkish-Islamic bindings until the end of the 15th century. The theme of the article is 15th century Ottoman bindings in which these reflections can be seen. The Çorum Hasan Pasha Manuscript Library, which has not been the subject of any study in this regard, has been determined as the research area. As a result of the researches carried out in this library, five examples from the 15th century were identified. The first of the examples is the binding of the work with inventory number 3374, with the copying date of 839/1435. This binding reflects the Seljuk binding style in terms of double-row border decoration, medallion form, and decoration technique applied with nails. The second example is the binding of the manuscript with inventory number 4064 and dated 850/1445. The waqf seal of Sayyid Ahmad Fayzī, the mufti of Çorum, is found on various pages of this work. The binding of the manuscript shows the Seljuk influence with different medallion designs on its front and back cover. In addition, the type of decoration of the corner piece is also a reflection of the same style. The third example is the binding of the manuscript dated 842/1438 with inventory number 4117. This binding is one of the important examples where the Seljuk style on one cover and the Ottoman early period binding style on the other cover come together in one binding. The fourth example is the binding of the manuscript with inventory number 4115, which was completed in the month of Muharram of 885/1479. The medallion of this binding is in narrow pointed oval form. This binding reflects the Seljuk style especially in terms of border decorations and technique. The fifth example is the binding of the manuscript with inventory number 4933. In the manuscript, there is the waqf seal dated 1201 (1786) in the name of Suleyman Feyzi and an ownership record written Muhammed b. Ahmad al-Shāfiī 934 (1527). The binding of the manuscript was decorated with Seljuk patterns using the gold-ink dyeing technique. The border decoration is also the type that stands out in the Seljuk decoration repertoire. In our article, it was determined that the Seljuk binding style continued to show its effect partially after the 15th century. Two bindings (4768, 4062) dated the 16th century are also available in the library. The binding of the manuscript, like 4117, has the characteristic of different decoration types of the front and back cover, which is the most typical feature of the Seljuk binding. As a result, it has been determined that the binding subject to the article coincides with the Seljuk bindings in terms of decoration types and production techniques and bears the reflections of this style. Reflections have also been compared with similar examples from the 15th century. According to this; the 15th century is a period in which the Seljuk State continued its continuity in terms of binding art, even if not in an administrative sense. Previous period effects that can be observed in every branch of art were also valid for 15th-century bookbinders who produced works in Anatolia.