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By Al Hansen

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Leather-strap-legged demon and ~skender. Ahmedî, ~skendernâme. Venice, Biblioteca Nazionale Marciana, Cod. or. 57, fol. 179a. 16 Only three of its twenty-one illustrations are painted on the pages of the manuscript. To fill the spaces reserved for the other illustrations, the rest consist of pasted-on fragments put together to form a scene, with added plain colors and plant or floral decoration. One of these collage paintings (fol. 134b) depicts the arrival of ~skender on Rayic Island in the Indian Ocean (fig.

3), one can observe their shared iconography, even though the styles are quite different. Thus, both poet and artist appropriate a series of established literary and pictorial elements and transfer them to a different context, where they acquire new meanings and associations. Ahmedî’s poem was composed both as an account of the legendary life story of ~skender and as an encyclopedic compendium of medieval knowledge. In creating his narrative, the author/poet used several scientific texts available to him.

Library, photograph albums of Abdulhamid II, no. 90473. TSM, A. 3594, fol. 129b; Esin Atæl, Levni and the Surname (Istanbul, 1999), p. 149. TSM, H. 802, fol. 134a; see Atasoy, Garden, fig. 4, p. 29. Istanbul Univ. Library T 5461; see Atasoy, Garden, fig. 11, p. 31. Atasoy, Garden, fig. 24, p. 37. Atasoy, Garden, fig. 16, p. 34. Günsel Renda, Batilila×ma döneminde Türk resim sanatæ 1700– 1850 (Ankara, 1977), pp. 80–84; Atasoy, Garden, pp. 264– 69. 20 nurhan atasoy old images for new texts and contexts 21 SERP~L BA²CI OLD IMAGES FOR NEW TEXTS AND CONTEXTS: WANDERING IMAGES IN ISLAMIC BOOK PAINTING The main characteristic of the art of painting in the Islamic world—be it in a manuscript, in an album, or on a wall—is its dependence, directly or indirectly, on a textual or oral narrative.

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