Мусульманское открытие Европы - Бернард Льюис

S. K. Yetkin, L’Architecture Turque en Turquie (Paris, 1962), pp. 133ff.

Mehmed Efendi, p. 199; cf. Kreutel and Spies (Bonn, 1954), p. 71, where the same saying is quoted.

A. Refik, Hicri on ikinci asirda Istanbul hayati (1100–1200) (Istanbul, 1930), p. 58; Adnan-Adivar, Science, pp. 125–26; idem, Ilim, p. 133; Berkes, Secularism, p. 27.

Karal, Tanzimat, p. 19; Berkes, Secularism, p. 33.

Mehmed Efendi, p. 91; cf. French transl., p. 137.

Ibid., pp. 139–40; cf. French transl., p. 214.

Ibid., p. 78; cf. French transl., p. 118.

Ibid., p. 109; cf. French transl., p. 163. Behzad was a famous Persian painter; Mani, the founder of the Manichean religion, is famed in Muslim legend as a great artist.

F. Babinger, «Vier Bauvorschläge Leonardo da Vinci’s an Sultan Bajezid II. (102/3),» Nachrichten der Akad. der Wiss. in Göttingen, I. Phil.-Hist. Klasse, no. 1 (1952): 1–20; idem, «Zwei Bildnisse Mehmed II von Gentile Bellini,» Zeitschrift für Kulturaustausch 12 (1962): 178–82; J. von Karabacek, Abendländische Künstler zu Konstantinopel im XV. und XVI. Jahrhundert: I, ltalienische Künstler am Hofe Muhammads II. des Eroberers 1451–1481 (Vienna, 1918).

N. Atasoy, «Nakkaş Osman’in padişah portreleri albümü,» Türkiyemiz 6 (1972): 2–14 where color prints of the twelve sultans, from Osman to Murad III, are given.

See A. Boppe, Les peintres du Bosphore (Paris, 1911); and R. van Luttervelt, De «Turkse» Schilderijen van J. B. Vanmour en zijn School (Istanbul, 1958).

On Turkish painting and decoration, see G. M. Meredith-Owens, Turkish Miniatures (London, 1963), p. 16; N. Atasoy and F. Çağman, Turkish Miniature Painting (Istanbul, 1974); G. Renda, Batililaşma döneminde Türk resim sanati (Ankara, 1977).

A. Destrée, «L’ouverture de la Perse à 1’influence européenne sous les Rois Safavides et les incidences de cette influence sur l’évolution de l’art de la miniature,» Correspondence d’Orient 13–14 (1968): 91–104.

Cited in W. Blunt, Isfahan Pearl of Persia (London and Toronto, 1966), p. 100.

Cited in A. Destrée, «L’ouverture …,» p. 97.

I. Stchoukine, Les peintures des manuscrits de Shah

B. Gray, «A Fatimid Drawing,» British Museum Quarterly 12 (1938): 91–96.

See facsimiles in Jahn (ed.), Rash

On Levni, see S. Ünver, Levni (Istanbul, 1957).

The date in the colophon (1190/1776) is certainly wrong, as the Frenchwoman is depicted wearing a Phrygian cap with tricolor. A similar but rather better ms. in the Istanbul University Library is dated 1206/1793. See Norah M. Titley, Miniatures from Turkish Manuscripts (London, 1981), n. 23. See further, G. Renda, Bat

G. Renda, Bat

Qazv

Evliya, 7:312; cf. Kreutel, p. 185.

Mehmed Efendi, pp. 83ff; cf. French transl. pp. 127–31.

Ghassān

Vasif, in Cevdet, 4:355; cf. Barbier de Meynard, p. 518.

E. de Leone, L’Impero Ottomano nel pritmo periodo delle riforme (Tanzimat) secondo fonti italiani (Milan, 1967), pp. 58–59, citing Cesare Vimercati, Constantinople e l’Egitto (Prato, 1849), p. 65.

A. Slade, Records of Travel in Turkey, Greece … (London, 1832) 1: 135–36. On the harem orchestra, see Princess Musbah Haidar, Arabesque, revised ed., (London, 1968), p. 61.

Ghassān

Ghazāl, p. 20; cf. Miknās

Hatti in Tarih-i Izzi, pp. 190ff.

On the theatre, see A. Bombaci, «Rappresentazioni drammatiche di Anatolia,» Oriens 16 (1963): 171–93; idem, «Ortaoyunu,» Wiener Zeitschrift für die Kunde des Morgenlandes 56 (1960): 285–97; M. And, A History of Theatre and Popular Entertainment in Turkey (Ankara, 1963–64); idem, Karagöz, Turkish Shadow Theatre (Ankara, 1975).

Vasif, in Cevdet, 4: 355; cf. Barbier de Meynard, p. 518.

Miknās

Evliya, 7: 267; cf. Kreutel, p. 108.

Bibliotheque National, Arabe no. 6243. See Blochet, Catalogue, p. 219.

Sir William Jones, «A Prefatory Discussion to an Essay on the History of the Turks,» in The Works of Sir William Jones, vol. 2 (London, 1807), pp. 456–57.