Explicating Devotion to Muhammad, Part i.

Opening page to Kara Davutzâde Mehmed Efendî, Tevfik muvaffikü’l-hayrât li-neyli’l-berekât fi hizmet menbai’s-saâdât, University of Michigan, Special Collections Library, Isl. Ms. 672

Late medieval and early modern devotion to Muhammad in Islam was first and foremost a matter of personal and communal practice, embodied in devotional regimes, public rituals, habitual expressions, and material objects, among other practices and techniques. But it also unfolded at a discursive, textual, and homiletical level, with scholarly and semi-scholarly productions explicating, extolling, and critiquing various aspects of devotion to the Prophet appearing from the late medieval period forward in multiple languages of Islam. The genre of commentary (Ar. sharḥ/Ott. Trk. şerh) was an important vehicle for delivering explication of devotional practices and their intersection with theology and other Islamic disciplines. Numerous commentaries on ṣalawāt– the litanies of blessing upon Muhammad- and related sorts of texts appeared across the Ottoman world and beyond, in both Arabic and Ottoman Turkish (and in other languages further east). Like much early modern commentary production in Islamic societies, these texts have received little engage scholarly attention, though the neglect of commentaries is starting to change. In the following weeks I’d like to give some samples of commentary on devotional texts, starting with excerpts from commentary on what was perhaps the most important text of devotion to Muhammad, al-Jāzūlī’s Dalā’il al-khayrāt.

But before presenting translated texts and analysis of them, I’d like to start with the above image. It comes from the opening page of a beautifully executed manuscript copy of an Ottoman Turkish translation and expansion of an Arabic commentary on al-Jāzūlī’s prayerbook. Titled Tevfik muvaffikü’l-hayrât li-neyli’l-berekât fi hizmet menbai’s-saâdât, this work, which goes through, line by line, the text of Dalā’il al-khayrāt, was composed by an eighteenth century author, Kara Davutzâde Mehmed Efendî, about whom I know no more than can be gleaned from the text. The commentary was aimed at many audiences, especially, it seems, pious women, and may have been meant to furnish material for preachers.

The charming miniature that is framed at the top of the page, a depiction of Medina, centered on the Prophet’s Mosque, is a good example of the devotional iconography that grew up around devotion to Muhammad, in many contexts, featuring images of Mecca and Medina, the tomb of Muhammad and the tombs of the Four Rightly Guided Caliphs, the footprint of Muhammad (and other physical traces), and so on. Such images had many functions: they presented the physical presence of Muhammad and his close associates in an iconographic manner but without actually depicting Muhammad directly. Instead they summoned his presence by pointing the viewer at the material traces of his life and memory, a sort of icon at remove. They had an educational value, giving the reader or viewer a sense of what the holiest places of Islam and the artefacts of the Prophet looked like. And finally they had a prophylactic purpose- that is, early modern Muslims might display or otherwise have on hand these images as a way of warding off evil and misfortune, based on their icon-at-a-remove connection to Muhammad and his powerful intercession. The above image- which is also just simply beautiful and delicately rendered- participates in all of the above.

O Monarch of the Heart

In yesterday’s post I introduced the theme of late medieval and early modern devotion to Muhammad, a ‘movement’ within Islam that became dominant and widespread by the end of the middle ages, especially flourishing in the early modern period. The texts of this devotion were not only written in Arabic: rather, devotion to Muhammad was often expressed in vernaculars. The following translated poem, by an Ottoman sufi şeyh and saint, Muhammed Nasûhî Üsküdarî (d. 1718), is a part of a larger collection of poetry of praise and supplication directed towards Muhammad, written in Ottoman Turkish. It is a good example of this genre of poetic composition, which was common across the Ottoman world and beyond, expressing theological concepts as well as emotional bonding between the poet and his object, Muhammad. I have included footnotes at points to clarify certain references that would have been relatively obvious to a contemporary reader or listener but might not be to my readers here.

Iznik Flower Panel

You are the cure of my sickness, yâ Muhammed Mustafa!
You are the sovereign of my heart, yâ Muhammed Mustafa!

Who am I that I dare to praise you, o monarch of the heart?
You are the light of the moon of Yâ-sin [1] yâ Muhammed Mustafa!

You hold sway over the inner secret of this habitation below, o mirror of the True!
You are the monarch of the throne of If you had not been [2], yâ Muhammed Mustafa!

Without sign, without place, in your inner secret I beheld your essence.
You are the spirits of the passionate lovers, yâ Muhammed Mustafa!

To the crooked-statured, sin-bearing Nasûhî [3] give
Help—you are a remedy, yâ Muhammed Mustafa!

Üsküdarlı Muhammed Nasûhî, [‘Poem 6’], in Üsküdarlı Muhammed Nasûhî ve Dîvânçe-i İlâhiyat’ı, ed. Mustafa Tatcı (Üsküdar, İstanbul: Kaknüs Yayınları, 2004), 166-167.

[1] A reference to the 36th surāh of the Qur’an, Surāh Yā’-Sīn, sometimes referred to as ‘the heart of the Qur’an.’

[2] An allusion to a hadith qudsi– a hadith said to convey God’s speech, though not as part of the Qu’ran- in which God says to Muhammad words to the effect of ‘If you not been I would not have created the universe.’

[3] Including one’s name in the penultimate line is an Ottoman convention, carried over from Persian poetic convention.

An Ottoman Book Binding by Way of Tabriz

Binding of a copy of the Bustan of Sa‘di MSS 712
Binding of a copy of the Bustan of Sa‘di, Khalili Collections, MSS 712. Istanbul, Ottoman Empire (likely), 1530–1540. (Papier-mâché boards, painted and varnished; with paper doublures; 24.7 x 16.5cm (covers, each); 24.7 x 11cm (flap and fore-edge)

This spectacular example of book binding was probably produced in the workshops of the Topkapı Palace by artisans from Tabriz (modern-day Iran, at the time part of the Safavid Empire, though periodically contested by the Ottomans). As such it is a good demonstration of the interconnection between the Persianate world and that of the Ottomans, especially in the 16th century (Persian influence and connections would decline somewhat in the coming centuries). This cover protects a copy, executed in Tabriz in 1530, of one of the great works of Persian poetic literature, Sa’di’s Bustan (‘Garden’), which, along with other works of Persian poetry, would have a long-lasting influence on the production of Ottoman Turkish poetry. The artwork, with its intricate interlacing tendrils, delicately rendered foliage and single creature at the center, is redolent of the Persian world, and would have been immediately recognized as such by whatever connoisseurs of art would have had access to the finished product, probably in the Topkapı itself.


The Thought of Fishing

As noted in a previous post, the Ottoman majdhūb/meczûb (the first is the Arabic rendering, the second the same term but in Ottoman Turkish)- the divinely drawn saint or holy madman- was often involved in the details of everyday life, such as the smoking of tobacco. In the following story, which comes from a compilation of meczûb lives in a sprawling 17th work of hagiography by Mehmed Nazmî EfendiHediyyetü’l-ihvân, we see one of these holy madmen miraculously discern the wandering thoughts of the imam in the greatest mosque of Ottoman Istanbul.

A view of the courtyard of the Süleymâniye Mosque, the setting of the following story

‘And there was one, Hızır Aşak, who was from among the great (ulular) of the meczûb. He was a powerful meczûp capable of unveiling inner secrets. It is related that the imam of the Süleymâniye Mosque, Süleymân Efendi—who was later dismissed and sent into retirement—was one day leading the noon prayers, when the thought came to him: “After completing the salât, I’ll go to Hisar [on the Bosporus] and go fishing.’ Just as this thought was occurring to him, Hızır Aşak came to the mosque, and, as was his custom, cried out “Hû!” [i.e. ‘He,’ meaning God, a common sufi form of zikr] and said, “Süleymân Çelebi! You are here, your mind ought not be off fishing in Hisar. There is no prayer without presence of heart. Lead these men in prayer a second time.” Having said this he left the mosque. Süleymân Çelebi related thus: “This unveiling of the mad one brought about divine fear and embarrassment before the people in me. For a little while I passed out! Coming to, I properly completed the prayers.”’

Mehmed Nazmî Efendi, Hediyyetü’l-ihvân