Showing posts with label renaissance. Show all posts
Showing posts with label renaissance. Show all posts

Tuesday, August 27, 2013

Tarih-i Ungurus

            The Tarih-i Ungurus, written between 1543 and 1566, tells the history of the lands of Hungary from the conquest of the region by Alexander the Great to the death of King Louis II at the Battle of Mohács in 1526. The only known copy is held in the Library of the Hungarian Academy of Sciences, where it arrived after its rediscovery and initial publication by Ármin Vámbéry in 1860.[1] The 210 folios of unillustrated text are composed of a combination of Ottoman Turkish prose and verse. The title page reads Tarih-i Ungurus with the partially rubbed out subtitle Iskendername, or history of Alexander the Great. The page also includes the signatures of two previous owners, one Muhammed Amin Abu l'Is'ad Tusturzade[2] and the other of the nineteenth century scholar Vámbéry. Hazai, the publisher of the critical edition, found no evidence to suggest it exists in other forms, concluding that this was the autograph copy.[3]
            The author reveals his name, clues towards a date range, and claims a specific purpose in the dedication on folios 2b-3a:

“When Sultan [Suleiman]’s sword took Hungary, a few people from the fortresses fled to the King of Vienna and did not listen to the commands of the padisha, that is why he sent a sea of soldiers against them and with one motion conquered them. At that time, in a castle known as Ustulni Belgırad [Székesfehérvár], a Latin language book found its way into our hands. Its contents explored, it was revealed that it contained the history of Hungary starting from the ancient days.  It sought to explain how the land flowered, why it was named Hungary, how its capitol city, Buda, was given the name Buda, what was the name of its earlier capitol, what types of kings followed each other, when, and with whom they fought battles, how long they ruled, and lived. That is why I, the weak and poor servant, Tercüman Mahmud, decided that I would translate it. Perhaps the day will come when the current padisah and those that follow will turn their noble attention and happen upon this unworthy poor man’s present, and will with good-nature tolerate and be gracious to this pious submissive servant.[4]

Thus, the text cannot have been created before the capture of Székesfehérvár in 1543, given the reference to the event, and its dedication to Sultan Suleiman provides it with a terminus ante quem of 1566, the year the sultan died on the battlefield in Szigetvár.  The self depreciating request for favor from the “current padisah and those that follow” seems to be a formulaic request for support. Given the date range and the information contained within, it seems quite plausible that the work operated in dialogue with the ongoing consolidation of power in the conquered portions of the fragmented Hungarian territories.
            The author, Tercüman Mahmud, was a well known dragoman (translator) at the Ottoman court of Sultan Suleiman. His unusually prolific diplomatic career has been reconstructed by scholars from archives in Vienna and Istanbul.[5] Captured during the Battle of Mohács, he came from a Viennese Jewish family. Before his conversion, his name was Sebold von Pibrach, the son of a burgher merchant, Jacob von Pibrach. He was well educated and arrived in the palace schools reading and writing in Latin, German, and Hungarian. During his tenure he served in diplomatic missions to Transylvania (1550 and 1554), Poland (1543 and 1554), Paris (1569), Venice and Cypress (1570), Vienna (1550, 1574) and finally Prague (1575) where he died.[6] Some scholars question if Tercüman Mahmud composed the Tarih-i Ungurus, based primarily on the fact that tough while only one dragoman by the name of Mahmud operated at the time, he left no evidence that he wrote works of history outside of this volume. This led Hazai to suggest that he commissioned the work, or at the very least worked closely with a secondary author more well versed in Ottoman Turkish and Arabic.[7]
            Hazai’s critical edition includes a philological study of the quality and character of the Ottoman Turkish and Arabic quotations used throughout the text. Looking for traces of the author’s German roots in syntax errors, he concludes that text suggests multiple authors who wielded Ottoman Turkish and Arabic as native speakers.[8] Identifying few mistakes and few loan words, Hazai also suggested that the deformed names suggested the hand of a non-German speaker. In an earlier publication, Hazai also suggested that the missing words were probably meant to be written in a different color, and thus blames errors on a scribe rather than hypothesizing about a secondary author.[9]
            The sources of the work have been identified as a history of Alexander the Great, from the popular Ottoman Iskendername genre;  a corrupt late medieval version of M. I. Iustinus's World History; the Hungarian historical medieval chronicle Chronicon Pictum compiled by Mark of Kalt;[10]  an altered European edition of Johannes de Thurocz’s Chronica Hungarorum (used for all information post 1000 information); [11] and some early scholars took his introduction literally and believed there was a single mysterious Latin chronicle in Szekesfehervar combining the history of Alexander the Great with that of medieval Hungary that is no longer extant.
            Following its initial rediscovery, scholarship on the Tarih-i Ungurus centered largely on identifying this fictitious Latin source it purported to reproduce which would have provided information on the early history of the Magyar people and their settlement in the Carpathian Basin not available elsewhere.[12] The first person to put forth a serious alternative to the search for the Latin chronicle was István Borzsák, who showed that much of Alexander the Great material was derived from Iustinus's 44 volume Historiae Philippicae embellished with motifs borrowed from the widely popular Iskendername, or Alexander Romance.[13] The critical edition appeared in 2009 and led to a major growth in awareness of the manuscript and interesting new hypotheses about its origins and meanings. Balázs Sudár included it in his short analysis of the mental occupation of Hungary by the Ottomans to show how acquiring the territories went hand in hand with acquiring the past through rewriting it.[14] Specifically, Sudár argues that the focus on fictitious anecdotes from the life of Alexander the Great served to show that the Ottomans were heirs to the Alexandrine empire and thus rightfully in possession of the lands of not only the Kingdom of Hungary, but also the lands of Europe that lay beyond it. Sudár situates this within a context of other legitimizing actions, such as the appropriation of religious and ceremonial spaces and the creation of a new Eastern pedigree for the royal accouterments.



[1] Ármin Vámbéry, “Tarihi Engerusz, azaz Magyarország története czimű török kézirat ismertetése Vámbéri Armintól,” ed. Antal Csengery, Magyar akadémiai értesítő. Philosophiai, törvény-és történettudományi osztályok közlönye 1 (1860): 360–362.
[2] Unidentified. Needs archival research.
[3] Hazai 1996.
[4] “(2b) O zaman kim zarb-ı teğiyle fetheylediği Ungurus vilayeti kalelerınden birkaç kalenin ehalisi Bic kıralına itaat edip emr-i padişahiye imtisal ve inkıyad eyelemedikleri ecilden üzerlerine deryamisal asker çekip varıp cüzvi işaretle fetheyleyip Ustulni Belgırad nam kalede Latin ibaretince bir kitab ele girip mefhumuna nazar olundukta, Ungurus vilayetinin kadimü’l-eyyamdan tevarihi olup o vilayet ne vechile mamur olup  ve Ungurus dediklerine sebeb ne vechile olmuştur, ve tahtgahı olan Budine niçin Budin demişlerdir, ve kadim tahtlarının adı nedir, ve ne denlu kırallar gelip gitmişler, ve ne zamanlarda kimler ile ceng ü cıdal eylemişlerdir, ve ne miktar kırallık sürüp zindegani kırmışlardır beyan olunmağa sayedip (3a) bu biçare-i zayıf Tercüman Mahmud bende tercüme eylemeğe kasdeyledimç Vakat olda padişah-ı devranın ve sahibkıran-ı devr-i zamanın bu fakir-i hakirin tuhfesine nazar-ı şerifleri mukarin olup bendeleri hakkında himmeti ve inayeti mebzul buyurıla.” Transcription published in Hazai 2009, 13-14. Translation is my own based partially on the Hungarian translation in Hazai 1996, 26.
[5] Josef Matuz, “Die Pfortendolmetscher Zur Herrschaftszeit Süleymans Des Prächtigen,” Südost-Forschungen 34 (1975): 26–60. Hazai expanded on this work with archival research conducted by Petritsch. Some of this archival work was partially published in E. D. Petritsch, “Der habsburgisch-osmanische Friedensvertrag des Jahres 1547,” Mitteilungen des Österreichischen Staatsarchivs 38 (1985): 49–80.
[6] Hazai 2009, 12.
[7] Hazai 1996, 11.
[8] Ibid., 15.
[9] Ibid., 13.
[10] The manuscript is housed in the Országos Széchényi Könyvtár, Budapest (shelf mark Cod. 404) and dates between 1330 and 1360. The 147 illuminated illustrations represent a high point in Eastern European medieval art. It is rather curious that the Tarih-i Ungurus does not attempt to reproduce any images.
[11] Hazai 1996.
[12] József Budenz, “Tarihi Engerusz, azaz Magyarország története czimű török kézirat ismertetése Budenz Józseftől,” ed. Antal Csengery, Magyar akadémiai értesítő. Philosophiai, törvény-és történettudományi osztályok közlönye 2 (1861): 261–316.
[13] István Borzsák, “A ‘Hungarian History’ Through Turkish Eyes and the Alexander the Great Tradition,” in Occident and Orient: a Tribute to the Memory of Alexander Scheiber, ed. Sándor Scheiber and Róbert Dán (Leiden: Brill, 1988), 31–38.
[14] Balázs Sudár, “Az oszmánok és Magyarország mentális meghódítása [The Ottomans and the mental occupation of Hungary],” in Identitás és kultúra a török hódoltság korában, ed. Pál Ács and Júlia Székely (Budapest: Balassi Kiadó, 2012), 40–49.

Sunday, February 26, 2012

The Ferenc Wathay Songbook

This post comes from my current research and serves to introduce a manuscript to an English-speaking audience while also offering some preliminary observations and avenues for further exploration. Just slightly outside of my own cutoff date of 1600, this unique and important product of the Ottoman-Hungarian cultural exchange deserves attention.

Figure 1
Nándorfehérvár (now Belgrade, Serbia), The Ferenc Wathay Songbook, Magyar Tudományos Akadémia (K 62, previously M. Cod. 4rét 29), folio 23b-24a






Figure 2
Temesvár (now Timişoara, Romania), The Ferenc Wathay Songbook, Magyar Tudományos Akadémia (K 62, previously M. Cod. 4rét 29),  folio 30b-31a


The Ferenc Wathay Songbook, preserved in the Magyar Tudományos Akadémia (K 62, previously M. Cod. 4rét 29), contains two remarkable city views of Nándorfehérvár (now Belgrade, Serbia)[1] and Temesvár (now Timişoara, Romania) and a host of intriguing illuminations depicting Ottomanized life along the frontier. The 133 folio manuscript, written and illuminated in 1604-6, contains twenty-eight Hungarian ballads with accompanying illustrations, followed by a twenty-four page autobiography detailing the events of the author’s life, capture, and slavery. The text and images were crafted by a member of the Hungarian lesser nobility, Ferenc Wathay, who was held as an Ottoman captive between 1602 and 1606.  Below, I provide an overview of the contents of the volume and a list of illuminations and their accompanying text, translated from the original Hungarian by myself, or left in the original Latin. Below that, I provide a preliminary list of future topics of exploration, some of which may be taken up as future posts.


Contents

3a -- title page
4a-5b -- introduction
6a-105b -- songs
107a-131b -- autobiography
132a-133a -- various remarks

Images and accompanying inscriptions

2a – coat of arms with the inscriptions:

 “This is my coat of arms, this is my Christ. 1605.
“Written by the hand of F. Wathaj”

7b – simple ink drawing of a castle

9a – a crow on a mountain

10a – a lion in a green field

 23b-24a – Nándorfehérvár city view from the river (figure 1)

“From the south, this is how the good Nándorfehérvár looks
More beautiful places do not exist on this earth
That it was taken from the Hungarians, what a shame”

27a – slaves in front of a building

Figure 3
Wathay in chains by the Temes River, The Ferenc Wathay SongbookMagyar Tudományos Akadémia (K 62, previously M. Cod. 4rét 29),  folio  27b


27b – a castle in the background with the Temes (Romanian: Timiş) River in front of it, Wathay in chains being carried in the foreground

30b-31a – Temesvár city view (figure 2)

"This is how the sun rose, and to the South lies Temesvár
The little Temes River contains and is surrounded by mud
I did not know, and I too wait as a captive. 

31b – illustration to the autobiography - the torture of Wathay at Ferhát hodzsa

“This was how Ferhat hoddzsa (Turkish: wise man)’s hospitality ended
At Temesvár, I broke with him
Three locks, and I ran”

33b - Turkish horsemen accompanying Wathay barefoot towards a fortress

35b – transporting Hungarian slaves in a cart illustration to the biography with inscription

"As such sixty new ones, ten carts of slaves
They took us under, with great chains on our necks
In one month I will see the ruler’s home and the sea"

37b – a boat on the sea, in the background a town.

"Prior Pars Asia
Olim Bithinia
Nuc apata”

42a – a town, foreground with the sea with boats and fish

"Finis Europae
Olim Tratia
nuc pars Constantinapolis.”

44a – slaves in a basket on the back of a camel

Figure 4
Countryside with two towns, The Ferenc Wathay Songbook
Magyar Tudományos Akadémia (K 62, previously M. Cod. 4rét 29),  folio  44a-45b


44b- 45a – countryside with two post-raid villages completely pillaged and burned

52b – Turkish galley ship on the sea

71a – nude female standing on a wheel with wings on her heels

“Fronte Capillata Post Haec est Ocasio Calva”

72b – stag on its hind legs

“Tempora Labvntvr sic nos Ibimvs Ibitis Ibvnt”

74b – Wathay looking through the bars locked in a tower

80b – fighting bear and tiger

Figure 5
Wathay crying in his cell, The Ferenc Wathay Songbook
Magyar Tudományos Akadémia (K 62, previously M. Cod. 4rét 29),  folio  83b

83b – Wathay crying in his cell

“Psal Cii Factvs svm Sict Nocticorax in Domicilio.”

86a – nude male with a skull and leg bones

“O Homo Memento Quod Pvlvis es et in Pvlvere Reverteris”

87a – the last judgment

“Svrgite Mortvi Venite Ad Ivdicivm”

91a – colorful flower

100a – hunting scene with fox and crow

101a – roosters and crows with a fox

106b – dead deer with a crow on top of it with two other crows flying above

“Sic Transit Gloria Mvndi”


Some future research topics

* Ottomanization as depicted in 23b-24a (Nándorfehérvár) and 30b-31a (Temesvár)
* genealogy of the visual vocabulary
* mixing of languages in the text
* the significance of the crow and other animals
* depiction of battle scenes
* representing the Hungarian/ representing the Ottoman in image and text
* the visualization of architecture
* cruelties of war
* how Wathay acquired the tools to make this volume and how it survived
* the last judgment scene 

For a scan of the full manuscript see here.
For the text of the songs in Hungarian see here.


Bibliography

(Ács 1979)
Ács, Pál. 1979. “Wathay Ferenc: Áldott filemile. Allegória és invenció.” Irodalomtörténeti Közlemények 83 (2): 173–186.

(Wathay and Katona 1976)
Wathay, Ferenc, and Tamás Katona. 1976. Wathay Ferenc énekes könyve [Ferenc Wathay's song book]. Budapest: Magyar Helikon.

(Benda 1968)
Benda, Kálmán. 1968. “Adalékok Wathay Ferenc életéhez.” Irodalomtörténeti Közlemények 72 (2): 211-213.

(Nagy 1957)
Nagy, Lajos. 1957. Wathaz Ferenc: Székesfejérvár veszérül való história. Székesfejérvár: István Király Múzeum.

 (Angyal 1955)
Angyal, Endre. 1955. “Vathay Ferenc énekeskönyve.” Irodalomtörténeti Közlemények 59 (1): 51-61.
 
(Nagy 1955)
Nagy, Lajos. 1955. Wathay Ferenc énekeskönyve [Ferenc Wathay's song book]. Székesfehérvár: István Király Múzeum közleményei.




[1] The image of Nándorfehérvár was incorrectly bound. Without access to the manuscript itself, I cannot be sure when this mistake was made. Contemporary images of the city reveal its shape as I switched it in Figure 1.

Tuesday, January 31, 2012

Ottoman Costume Books before 1600




location
date
artist or geographic localization
Full or partial facsimile
Herzog August-Bibliothek, Wolfenbüttel, (Cod. 206)
1570
Csöbör Balázs of Szigetvár
Szakály 1983
Württembergische Landesbibliothek, Stuttgart (R 16 Ghi 1.4°)
1572
for Sanaert Vriesaud Lowen

Österreichische National Bibliothek, Vienna (Cod. Mixt. 313)
1572-1573


BibliothequeNationale, Dep des Estampes, Paris (Od.3)
1574?


Österreichische National Bibliothek, Vienna (Cod. Vindob 3325)
1574 (Atasoy)
1572-1573 (Stichel)
Lambert Wyts

TopkapiSaray Museum (Hazine 2168)
16th cent., second half
Ottoman

Statliche Museen, Lipperheidesche Kostumbibliothek, Berlin (Aa 20)
1580
German

Statliche Museen, Lipperheidesche Kostumbibliothek, Berlin (Aa 21)
1580
German

Bodleian Library, Oxford (Or. 430)
1588
German or Englishman in Istanbul
 Bodleian Library 1977 (partial)
Österreichische National Bibliothek, Vienna (Cod. Vindob 8626)
1590


National Library of , Leningrad (Hermitage Inv. 152891)
1590s
used by Ludolf von Stockheim(died 1596)

Kupferstichkabinett, Dresden (Inv. Ca 108)
16th cent.


Landesbibliothek, Kassel (MS. Hist. 4° 31)
16th cent.,end


Saechsische Landesbibliothek, Dresden (MS. Dresd. I)
16th cent., late


Chester Beatty Library, Dublin (MS 439)
16th cent., end


Uffici, Gabinetto dei disegni e stampe, Florence
16th cent. end
Italian, Jacopo Ligozzi

Biblioteca Nazionale Marciana, Venice (CL IV 491/5578)
16th cent.
Ottoman

British Library, London (Or. 2709)
1600, c. and 18th cent.
Ottoman with later additions

Kunstsammling der Veste, Koburg  (Hz. 12)
1587 (Atasoy)
1574-1595 (Stichel)
Foreign artist living in Istanbul

A. Meyer Memorial Library, Jerusalem
1587


All Souls College, Oxford (MS. 314)
1590


Private Collection, Benedetto Croce (d. 1952)
16th cent.


Trinity College, Cambridge
16th cent.


British Museum, London
16th cent.


Kupferstickkabinett, Dresden (Inv. Ca 170) formerly Ca 171
1581
Copy by Zacharias Wehme after David Ungnad von Sonnegg

Österreichische National Bibliothek, Vienna (Cod. Vindob 8615)
1586
copy after David Ungnad von Sonnegg

Kupferstickkabinett, Dresden (Inv. Ca 169)
16th cent.
copy after David Ungnad von Sonnegg

Sachsische Landesbibliothek, Dresden (Ms. J 2 a)
16th cent.
copy after David Ungnad von Sonnegg

Staats- und Universitätsbibliothek, Bremen (Ms. or. 9)
1574
Lambert de Vos
 de Vos 1991
Bibliotheque Nationale, Dep des Estampes, Paris (Od.2)
16th cent.
copy after Lambert de Vos

Gennadeios Library, Athens (A 986)
16th cent.
copy after Lambert de Vos

Kupferstickkabinett, Dresden (Inv. Ca 114)
16th cent.
copy after Lambert de Vos