Les « Maîtres de Tabriz », céramistes dans l’empire ottoman : Une mise au point sur leur identification

in Eurasian Studies
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Abstract

Who are the “Masters of Tabriz”? Scholars have attempted to reply to this question by trying to discover the historical and geographical origins of these ceramists who decorated ottoman buildings. However, the absence of biographies makes their identification uncertain and leads to many different theories about their identity. In reality, these masters are only known for their names found on monumental inscriptions and from ottoman archives. To fill in the lack of evidence, researchers have resorted to investigating ancient texts. However, some of these written sources are subject to extrapolations and uncertain speculations. These are nevertheless considered as convincing elements, which obviously falsifies the identification of these ceramists. This study proposes to reconsider the elements of identification notably in rereading the primary sources written in Ottoman, Arabic and Persian. The objective is to show evidence of concrete notions concerning the “Masters of Tabriz” and dismiss unfounded hypotheses. It will thus be possible to have a clearer vision of these craftsmen, as their enigmatic history tends to create myths.

Les « Maîtres de Tabriz », céramistes dans l’empire ottoman : Une mise au point sur leur identification

in Eurasian Studies

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References

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Figures

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    Signature des Ustādān-i Tabrīz sur le miḥrāb de la Yeşil Cami (Cliché Kh. Mahi, 2009).
  • View in gallery
    Signature de Muḥammad al-Majnūn sur le voussoir de droite de la loge du sultan dans la Yeşil Cami (Cliché Kh. Mahi, 2012).
  • View in gallery
    Signature de Muḥammad al-Majnūn sur le voussoir de gauche (Cliché Kh. Mahi, 2012).
  • View in gallery
    Archive tsma D. 9706-1, fol. 22b-23a concernant Ḥabīb Tabrīzī et ses apprentis (d’après le fac-similé publié dans Uzunçarşılı, « Osmanlı Sarayı’nda Ehl-i Hiref (Sanatkārlar) Defteri », pl. 21.).
  • View in gallery
    Archive tsma D. 9784 relative à ‘Abd al-Razzāq et Burhān (d’après le facsimilé publié dans Uzunçarşılı « Osmanlı Sarayı’nda Ehl-i Hiref (Sanatkārlar) Defteri » : pl. 1).
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    Tombeau de Mehmed i décoré de carreaux à « ligne noire » dans le Yeşil Türbe de Bursa (Cliché K. Mahi, 2011).
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    Miḥrāb à « ligne noire » dans la Yeşil Cami (Cliché E. Özden, 2017).
  • View in gallery
    Loge du sultan dans la Yeşil Cami (Cliché K. Mahi, 2012).
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    Miḥrāb de l’Imaret d’Ibrahim Bey de Karaman conservé dans le musée du Çinili Köşk à Istanbul (Cliché K. Mahi, 2012).
  • View in gallery
    Le Çinili Köşk d’Istanbul (Cliché K. Mahi, 2012).
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    Pišṭāq du Çinili Köşk composé de carreaux découpés, de briques bannā’ī et de petites carreaux « bleu-et-blancs » au motif d’étoile (Cliché K. Mahi, 2012).
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    Tympan à « ligne noire » dans la mosquée de Selim (Cliché K. Mahi 2012).
  • View in gallery
    Détail du panneau à « ligne noire » à l’entrée du mausolée de Selim (Cliché K. Mahi 2012).
  • View in gallery
    Détail du panneau peint sous glaçure décorant la façade de la Sünnet Odası (Cliché K. Mahi 2012).
  • View in gallery
    Le Dôme du Rocher à Jérusalem.
  • View in gallery
    Frise calligraphique en s̱ulus̱ sur la façade du Dôme du Rocher

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