Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi

9-22

Authors: Nesrişah SAYLAN

Bu çalışmada Şiî müfessirlerden olan Tabersî’nin Mecmeü’l-Beyân fî Tefsiri’l-Kur’ân adlı eserinde Hz. Ali’ye nispet edilen kıraatler tespit edilmiş ve söz konusu kıraatlerin dil ve anlam açısından tefsire yansımaları ortaya konulmaya çalışılmıştır. Küçük yaştan itibaren Hz. Peygamber’in eğitiminde yetişen Hz. Ali, birçok ilimde olduğu gibi kıraat ilminde de önemli bir yere sahiptir. O, Kur’ân’ı bizzat Hz. Peygamber (s.a.v.)’den öğrenmiş ve Hz. Peygamber döneminde Kur’an’ı ezberleyerek hafız sahabilerden olmuştur. Kıraat ilminde Ebü’l-Esved ed-Düelî, Ebû Abdirrahman b. Ebî Leylâ ve Ebû Abdirrahman es-Sülemî gibi meşhur âlimler yetiştiren Hz. Ali, biyografik eserlerde kurrâ olan sahabe arasında zikredilmiştir. Hz. Ali, bazı kıraat-i seb‘a ve aşere imamlarının senedlerinde de yer almıştır. Nitekim Hz. Ali yedi kıraat imamlarından Ebû Amr b. A‘lâ, Âsım b. Behdele ve Hamza b. Habîb’in; on kıraat imamlarından ise Yakûb el-Hadramî’nin isnad zincirinde yer almıştır. Hz. Ali’ye nispet edilen kıraatler erken dönemden günümüze kadar birçok tefsir kaynaklarında zikredilmiş ve bu kıraatlerin ayetin tefsirine sağladığı katkıya işaret edilmiştir. Şiî âlimlerden olan Tabersî, tefsirinde Hz. Ali’ye atfedilen kıraatlere geniş bir şekilde yer vermiş, tefsir ve tevil etkinliğinde bu kıraatlerden faydalanmıştır. Bu bağlamda makalenin amacı, Hz. Ali’nin kıraati örneğinde Tabersî’nin tefsirinde sahih ve şâz olarak zikredilen kıraatlerin nakil yöntemi, işleyiş tarzı ve tefsire etkisinin incelenmesidir [The aim of this study is to examine the recitations relating to ʿAlī in al-Tabarsī, one of the Shiî commentators, in his work Majmau’l-Bayān fī Tafsīr al-Qur’ān and the role of those recitations in terms of language and meaning. ʿAlī who grew up in the education of the Messenger from the very early age has an important place in the science of religion as in many branches of science. He learned the Qurʾān from the Messenger himself and became one of the hafiz companions by memorizing Qurʾān in Hz Muhammed’s era. ʿAlī who educated famous scholars like Abu’l-Asvad al-Dualī, Abū ʿAbd al-Rahmān b. Abī Laylā and Abū ʿAbd al-Rahmān al-Sulamī in the science of the Qurʾān recitation was considered in biographical sources as among the readers of the Qur’an. ʿAlī took place in the sanads of seven imams and ten imams of Qurʾānic recitation. As a matter of fact, ʿAlī appeared in the chains of sanads of the seven imams of Qurʾānic recitation Abū Amr b. Alā, Asım b. Bahdala and Hamza b. Habīb; and the ten imams of Yākūb al-Hadramī. The recitations relating to ʿAlī were mentioned in many commentary sources from very early times up to now, which were referred to the contribution for the interpretation of the verse. al-Tabarsī who is one of the Shī‘ī commentators described the recitation referring to ʿAlī in his interpretation and made use of these recitations in comentary and te’vil efficietly. In this context, the aim of the article, in the example of ʿAlī’s recitation, is to examine the transferring method and process of recitations in al-Tabarsī’s interpretation and their impact on the recitation as exceptional readings (Shādhdh) and truth readings.]

49-71

Authors: Feyza TOKAT

One of the most important rituals of Alawi-Bektashi communities is semah. As well as it is important to determine the meaning of the present shape, adornments, figures of the semah, reaching today by being transferred from generation to generation as an element of oral culture, it is also important to investigate the status of these items in the historical manuscripts. Each study on these topics will contribute to both cultural and religious studies. One of the oldest and most fundamental sources of the Ardabil Darvish Lodge and Safiaddin Ardabili is the work of Persian Safvatus-Safa of Ibn Bazzaz. This work was translated into Turkish by Neshati in the 16th century. In the present study, the information on semah in the British Museum Add.18548 copy of Tezkire-i Sheikh Safî, translated from Safvetu’s-Safa by Neshati, is examined. Based on the information given directly or indirectly about semah in Tezkire-i Sheikh Safî, features such as shape, duration, adornments, music, clothes of semah which were applied in Ardabil Darvish Lodge at that time are tried to be explained. In this way, the stationary aspects of semah and its changing aspects over the years will be revealed. According to the information given in Tezkire-i Sheikh Safi, the semah performed in the Ardabil Darvish Lodge due to vect, happiness and spiritual sign; could be done only with head, only with ear with the whole body and even without moving at all. In Tezkire-i Sheikh Safî it is stated that religious leaders and darvishes as well as an animal and goods besides human, perform semah. In Tezkire-i Sheikh Safi, althugh there is no definite information about the period or the special outfit of the semah in the Ardabil Darvish Lodge; there is information about the etiquette and musical notes of semah.

89-102

Authors: Ayşe ATICI ARAYANCAN

The Aq qoyunlu geography in the 15th century was a region where confusion and instability in terms of political, military, economic and religious (Sunni-Shi’a) existed. In this geography where the Sufi movements had found widespread place, many sheikhs and dervish were accepted and protected by administrations and had created spiritual power in Aq qoyunlu administration and campaigns. In addition, the Aq qoyunlu sultans kept the connection with the dervishes in a good manner to control the large masses, since dervishes had influence over the people, and tried to make this attitude a state politics. Crucial decisions in political movements such as going into the battle or ascend to the throne to be made for the continuity of the state, the sultans often consulted dervishes and sheiks in the first place. On the other hand, these dervishes who were influential in the belief and everyday life of the society, had taken various roles in the state hierarchy and directed the sultan who was at the head of the state and the army. For this reason, the examination of the dervishes, who constituted a strong structure in the administration of the Aq qoyunlu state, was an important issue in terms of solving the religion-politics relation of the state. The aim of this study is to examine the issues such as the role, prophecies and authority of the dervishes who lived in the XV. Century’s Aq qoyunlu land and their sanction and authority on the sultan in a multi-faceted way with examples and reasons. In addition, the dervishes gained reputation by the society and the administration, their influence on the Aq qoyunlu sultans, the messages given to the sultan and members of the army with their dream interpretations and enforced behaviors, political directions, administrative duties and their roles on Aq qoyunlu state policy and campaigns will be according to the primary sources.

153-182

Authors: Lütfiye GÖKTAŞ KAYA and Ebubekir Sıddık ATA

The harem section of the Dervish lodge located in Kastamonu Şeyh Şaban-ı Veli Dervish Lodge (Dargah) today functions as the foundation museum. At the museum, the objects in the dargah are exhibited along with the items of the foundation. The subject of the study is the 12 candlesticks, which belong to the foundation. Candlesticks, having important meanings in terms of religion and mysticism, are one of the objects that are presented as gifts to such buildings as mosques and tombs. The candlesticks in the present study are among the foundation objects brought from the various mosques in Kastamonu. All inscriptions on the candlesticks have date information, 8 of them have the name of the mosques where they were donated, also, 9 of them include the name of the donors. The candlesticks made of copper; shaped by forging and casting techniques, consisting of a conical body, neck, shoulder and candleholders are classified as mihrab candlesticks having a qualification of the letters patent (berat-license) at that time. Kastamonu is one of the regions with rich copper depositsIn the region, there were copper mining operations and copper processing workshops before and after the Ottoman period. According to the inscriptions on their bodies, the copper candlesticks dating to the 18th and 19th centuries are significant for indicating the local production of the late period of the Ottoman metalwork. In the 18th and 19th centuries Ottoman metalwork exhibited western influence in and around the capital, while traditional production far from these influences continues outside the capital. On the one hand, the candlesticks are examples of the gift/donation event in Turkish and Islamic tradition, and on the other hand, since they are made of copper and they emphasize the city of Kastamonu which produces and imports copper. In this study, the candlesticks, evaluated in terms of art history, were introduced to the world of science as examples of late Ottoman metalwork.

195-217

Authors: Ökkeş Hakan ÇETİN

Clothes images are an important group of examples of Ottoman paintings. These depictions, which were usually composed of single figure studies, offer a rich content in every way. Especially, seventeenth century paintings made by market painters show a developmental stage from simple to advanced quality, seen in the late period examples and photo albums. While in the early examples, depictions were drawn frontal, in later examples depictions were also shown from behind, so all aspects of clothes can be seen in detail. In this way, it could be observed that in some depictions jewelries attached to the neck were used. One of these albums is recorded with the inventory number 9005 at the Ethnographical Museum in Ankara. This album includes twenty-one paintings of single figures, painted with gouache technique. It is seen that the number of depictions is very low compared to similar albums. In the miniatures where various subjects such as palace and island ladies, palace officials, dervishes, pilgrims and prayer fathers are processed, there are French explanations on the edges and under the color stains on the lower parts of the figures. The identity of the description in the leaf 16 is not specified. In this study, the pictorial characteristics of the depictions that make up the album of the clothes will be conveyed, the information about the clothing-embroidery characteristics of the figures will be given and the similarities and differences with other dress descriptions will be revealed. In this way, it will be tried to determine from which angles the similar descriptions are influenced in the preparation of the depictions