Serpuş

Serpuş, muhtemelen Farsça Serpuş kelimesinden türetilen sözcük,^[1] "başlık/şapka" anlamına gelir.^[2] Orta Çağ'da Orta Asya ve Orta Doğu'da giyilen özel bir Türk askeri kürklü şapkaydı. Bedreddin Lülü'yu (1234-1259 yılları arasında hüküm sürdü) tasvir eden minyatürlerde belirgin bir şekilde görülmektedir.^[3] Bu, askeri sınıfın ağır bir şapkasıydı; üçgen ön kısmı bazen metal bir plakla süsleniyordu. Bazen takhfifa adı verilen küçük bir türban oluşturan bir fularla desteklenirdi.^[4] Serpuş'un giyilmesi, Orta Doğu minyatürlerindeki Türk figürlerini Arap figürlerinden ayıran en önemli grafik ve terzilik unsurlarından biriydi.^[5]

Şarbuş'un boyutu ve şekli farklılık gösterebiliyor,^[6] bazen çok büyük boyutlara ulaşabiliyordu; tıpkı 1237 tarihli Maqamat al-Hariri'inin ön yüzündeki Emir tasvirinde olduğu gibi.^[5] Sharbush'un şekli coğrafi bölgelere göre değişiklik gösterir.

Artuklu yazmalarındaki şerbuşun başlığının arkasında çok uzun bir şapka vardır ve kenar çevresinde kürk kullanımı sınırlıdır;^[6]
İran seramiklerinde ya da Blacas ibrik gibi Musul'daki nesnelerde ya da Cezire ve Suriye elyazmalarında görülen Selçuklu şerbuşunun başlığı çok daha alçaktı, neredeyse başı çevreleyen kürk şeridinin ve ön plakanın arkasına gizlenmişti;^[6]

Şarbuş başlığı Selahaddin Eyyubi'in bir toplanma işaretiydi ve bunu Silvan madeni parasında takıyordu.^[7]^[8]

Şarbuş aynı zamanda Mısır Memlükleri döneminde de bir rütbe sembolüydü, çünkü bir emirin tahta çıkışı sırasında verilen khil'a'nın bir parçasıydı.^[8] Şarbuş, Eyyubi ve Bahri Memlük döneminin yüksek rütbeli subayları tarafından giyilirdi.^[9]^[10]

Kaynakça

^ E.J. Brill's First Encyclopaedia of Islam, 1913-1936. BRILL. p. 891. ISBN 9789004097940
^ مجيد, رعد مطر (1 Ocak 2015). أثر فنون عصر النهضة على التصوير الإسلامي : دراسة تاريخية تحليلية = Impact of the Renaissance Arts Age on Al Islamic Painting : Analytical Historical Study (Arapça). Al Manhal. s. 212. ISBN 9796500168913.
^ Rice, D. S. (1953). "The Aghānī Miniatures and Religious Painting in Islam". The Burlington Magazine. 95 (601). ss. 128-135. ISSN 0007-6287.
^ Yedida Kalfon Stillman, Norman A. Stillman (2003). Arab Dress: A Short History : from the Dawn of Islam to Modern Times. Leiden, Netherlands: Brill. s. 67. ISBN 9789004113732. The normal headgear of the military class was a stiff cap with a triangular front which in some instances appears to have been a metallic plaque. It was sometimes trimmed with fur and was called a sharbUsh (see PI. 23 which depicts a Saljuq atabeg wearing a sharbUsh and tiriiz qabii' and also PI. 19), and sometimes it had a small kerchief bound around it to form a sort of turban which was designated a takhfifa. The sharbush was absolutely de rigueur for an amir.
^ ^a ^b Kaynak hatası: Geçersiz <ref> etiketi; AC isimli refler için metin sağlanmadı (Bkz: Kaynak gösterme)
^ ^a ^b ^c Ward, Rachel (1 Ocak 1985). "Evidence for a School of Painting at the Artuqid Court". Oxfod Studies in Islamic Art, vol. 1, pp. 69-83. s. 77.
^ Nicolle, David (20 Aralık 2011). Saladin (İngilizce). Bloomsbury Publishing. s. 26. ISBN 978-1-84908-318-8. This copper dirham, minted at Mayyafariqin in 587 AH (1190/01 AD) shows Saladin wearing the sharbush hat of a Saljuq-style Turkish ruler.
^ ^a ^b Lesley Baker, Patricia (1988). A History of Islamic Court Dress in the Middle East (PDF). SOAS, London University. s. 119. doi:10.25501/SOAS.00033676. By the end of the 12th century, the wearing of the sharbush demonstrated support for Salah al-Din. Under the later Bahri Mamluks of Egypt and Syria it formed part of the khil'a given to an amir on his investiture.
^ Lesley Baker, Patricia (1988). A History of Islamic Court Dress in the Middle East (PDF). SOAS, London University. s. 119. doi:10.25501/SOAS.00033676. The texts mention that high-ranking military officers in the early Bahri period wore the sharbush, as in the Seljuk and Ayyubid periods.
^ Dozy, Reinhart Pieter Anne; Nederlandsch instituut van wetenschappen, letterkunde en schoone kunsten (1845). Dictionnaire détaillé des noms des vêtements chez les Arabes; ouvrage couronné et publié par la Troisìeme classe de l'Institut royal des Pays-Bas. Amsterdam J. Müller. ss. 220-224.
^ Contadini, Anna (2012). A world of beasts: a thirteenth-century illustrated Arabic book on animals (the Kitāb Na't al-Ḥayawān) in the Ibn Bakhtīshū' tradition. Leiden Boston: Brill. s. 127. ISBN 978-90-04-20100-2. Reference has already been made to the combination of boots and sharbūsh as markers of official status (...) the combination is standard, even being reflected in thirteenth-century Coptic paintings, and serves to distinguish, in Grabar’s formulation, the world of the Turkish ruler and that of the Arab. (...) The type worn by the official figures in the 1237 Maqāmāt, depicted, for example, on fol. 59r,67 consists of a gold cap surmounted by a little round top and with fur trimming creating a triangular area at the front which either shows the gold cap or is a separate plaque. A particular imposing example in this manuscript is the massive sharbūsh with much more fur than usual that is worn by the princely official on the right frontispiece on fol. 1v. (...) These are of yet another type and are identical to those on the official on the left holding a spear in the painting of the “Purple Betony” in the 1224 Dioscorides (Fig. 65b)
^ Eastmond, Antony (2017). Tamta's World: The Life and Encounters of a Medieval Noblewoman from the Middle East to Mongolia. Cambridge University Press. doi:10.1017/9781316711774. ISBN 9781316711774.

[1] E.J. Brill's First Encyclopaedia of Islam, 1913-1936. BRILL. p. 891. ISBN 9789004097940

[2] مجيد, رعد مطر (1 Ocak 2015). أثر فنون عصر النهضة على التصوير الإسلامي : دراسة تاريخية تحليلية = Impact of the Renaissance Arts Age on Al Islamic Painting : Analytical Historical Study (Arapça). Al Manhal. s. 212. ISBN 9796500168913.

[DSR-3] Rice, D. S. (1953). "The Aghānī Miniatures and Religious Painting in Islam". The Burlington Magazine. 95 (601). ss. 128-135. ISSN 0007-6287.

[4] Yedida Kalfon Stillman, Norman A. Stillman (2003). Arab Dress: A Short History : from the Dawn of Islam to Modern Times. Leiden, Netherlands: Brill. s. 67. ISBN 9789004113732. The normal headgear of the military class was a stiff cap with a triangular front which in some instances appears to have been a metallic plaque. It was sometimes trimmed with fur and was called a sharbUsh (see PI. 23 which depicts a Saljuq atabeg wearing a sharbUsh and tiriiz qabii' and also PI. 19), and sometimes it had a small kerchief bound around it to form a sort of turban which was designated a takhfifa. The sharbush was absolutely de rigueur for an amir.

[AC-5] Kaynak hatası: Geçersiz <ref> etiketi; AC isimli refler için metin sağlanmadı (Bkz: Kaynak gösterme)

[RW77-6] Ward, Rachel (1 Ocak 1985). "Evidence for a School of Painting at the Artuqid Court". Oxfod Studies in Islamic Art, vol. 1, pp. 69-83. s. 77.

[DN-7] Nicolle, David (20 Aralık 2011). Saladin (İngilizce). Bloomsbury Publishing. s. 26. ISBN 978-1-84908-318-8. This copper dirham, minted at Mayyafariqin in 587 AH (1190/01 AD) shows Saladin wearing the sharbush hat of a Saljuq-style Turkish ruler.

[PLB-8] Lesley Baker, Patricia (1988). A History of Islamic Court Dress in the Middle East (PDF). SOAS, London University. s. 119. doi:10.25501/SOAS.00033676. By the end of the 12th century, the wearing of the sharbush demonstrated support for Salah al-Din. Under the later Bahri Mamluks of Egypt and Syria it formed part of the khil'a given to an amir on his investiture.

[9] Lesley Baker, Patricia (1988). A History of Islamic Court Dress in the Middle East (PDF). SOAS, London University. s. 119. doi:10.25501/SOAS.00033676. The texts mention that high-ranking military officers in the early Bahri period wore the sharbush, as in the Seljuk and Ayyubid periods.

[10] Dozy, Reinhart Pieter Anne; Nederlandsch instituut van wetenschappen, letterkunde en schoone kunsten (1845). Dictionnaire détaillé des noms des vêtements chez les Arabes; ouvrage couronné et publié par la Troisìeme classe de l'Institut royal des Pays-Bas. Amsterdam J. Müller. ss. 220-224.

[11] Contadini, Anna (2012). A world of beasts: a thirteenth-century illustrated Arabic book on animals (the Kitāb Na't al-Ḥayawān) in the Ibn Bakhtīshū' tradition. Leiden Boston: Brill. s. 127. ISBN 978-90-04-20100-2. Reference has already been made to the combination of boots and sharbūsh as markers of official status (...) the combination is standard, even being reflected in thirteenth-century Coptic paintings, and serves to distinguish, in Grabar’s formulation, the world of the Turkish ruler and that of the Arab. (...) The type worn by the official figures in the 1237 Maqāmāt, depicted, for example, on fol. 59r,67 consists of a gold cap surmounted by a little round top and with fur trimming creating a triangular area at the front which either shows the gold cap or is a separate plaque. A particular imposing example in this manuscript is the massive sharbūsh with much more fur than usual that is worn by the princely official on the right frontispiece on fol. 1v. (...) These are of yet another type and are identical to those on the official on the left holding a spear in the painting of the “Purple Betony” in the 1224 Dioscorides (Fig. 65b)

[12] Eastmond, Antony (2017). Tamta's World: The Life and Encounters of a Medieval Noblewoman from the Middle East to Mongolia. Cambridge University Press. doi:10.1017/9781316711774. ISBN 9781316711774.

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