Levnî
A Master of Ottoman Miniature
 Among all the Ottoman architects, painters, poets
and horticulturalists who left their mark on the Tulip Era, the
poets Nedim and Seyyid Vehbî and the miniaturist Levnî
stand out from all the rest. The spectacular manuscript dating from this era in the early
18th century entitled Surnâme-i Vehbî was written by Seyyid Vehbî and
illustrated by Levnî. The book describes the ceremonies and festivities held at
Okmeydanę in Istanbul to celebrate the circumcision of the sons of Sultan Ahmed III.
These began on 13 September 1720 and continued with processions, displays and feasting for
20 days. Although the book bears the name of its author Vehbî it is Levnîs miniatures
for which it is most valued as both work of art and documentary record of its day. Each of
the 137 paintings reflect in vivid detail the costume of the Ottoman court, and
contemporary entertainments. Levnî also illustrated two costume albums with miniatures
depicting 21 male and 20 female figures, and portraits of the 22 sultans for Dimitri
Kandemirs Ottoman History. Levnî was at the same time a musician and poet who wrote
qasides for Sultan Ahmed III (1703-1730) and epic ballads in a new form.
 Levnî was a pseudonym, meaning lover of colour, and
represented in place of a signature by a graceful flower in one corner of his miniature
paintings. His real name was Abdülcelil and he came from the city of
Edirne, the former Ottoman capital where the court often removed for the summer, and where
the rebellion of 1703 which brought Ahmed III to the throne took place. Little is known
about his life, but it was after that date that he arrived in Istanbul to spend most of
that sultans reign as an artist in the palace painting studio or Nakkațhane.The work
of Levnî represents the last golden age of Ottoman miniature painting, and the start of a
new period in the fields of art and culture. His work is in striking contrast to that of
earlier Turkish miniaturists like Sinan Bey, famous for his portrait of
Sultan Mehmed II (1451-1481) smelling a rose, Nigârî (d.1572) who
painted portraits of Süleyman the Magnificent, Ottoman
admiral Barbaros Hayrettin Pața and Selim II, Nakțî (late
16th-early 17th century) who painted portraits of seyhs and scholars for Țakayęk-ę
Numaniye, or Lokman Çelebi (d.1601), who illustrated many outstanding
manuscripts like the Țehnâme, the Hünernâme, the Selimțahnâme
and the Țehințahnâme.
 Marked western influence can be seen in the move from traditional
stylisation to increased realism. There is a new sense of depth and freedom of movement in
Levnîs paintings, and for the first time he lends facial expression to his figures.
The love of colour expressed in his own pseudonym can clearly be seen in the way he
balances and combines colours in his work. There is a strong sense of light and shade, and
his figures are animated. His miniatures are full page plates instead of being fitted
between the writing. Although he introduced so much that was original and in many ways a
departure from tradition, his paintings remained a celebration of what could be achieved
within the context of miniature art in its last great phase. His realism, romanticism and
depth can be seen to spectacular effect in, for example, his Young Woman, Woman Smelling a
Rose, Young Man, Sultan Osman II on Horseback, the Bostancę, the Page, the Peyk Soldier,
and Çengi Dancer. In his Four Slave Girl Musicians there is such a liveliness and sense
of joy that we can almost hear the music they are playing.
- Source:
- The last great master of ottoman miniature - Levnî
By Necdet Sakaođlu
Skylife 09/98
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