Safevi Sarayı’nda XVI. yüzyıl’da müzik teorisi kaynakları üzerinden Şâh İsmail Hatayi’nin düşünce dünyasının tahayyül edilmesi

Sources of music theory in Medieval Islam Period named as “edvâr” sources, are of great importance for the cultural history of the region not only for having contained some music theory information about the historical period they belong to such as the tuning system, melodic structures, rhythmic structures, but also reflecting a strong “cosmic perception” by establishing a connection with the “theory of cycles”. The principles of medieval Islamic states of establishing the relationship between “belief and music” through the contradiction or reconciliation of the “madrasah-tekke” traditions utilizing the sources of music theory had created a rich written literature in this field that can be useful in terms of both education and philosophical methodology. It is noteworthy that a small number of these sources were produced at or in relation to the Safavid court. By examining these sources, this study endeavors to search for the roots and tradition of Shah Ismāʿil Khatāyi’s cycle-based “cosmic perception” reflected in his poems/breaths within the artistic and cultural life of the Safavid court and its capital. This tradition was influenced by the stylistic characteristics of the Khorasan/Herāt and Azerbaijan/Tebriz schools of art and philosophy, as well as the “mystical beliefs” that are widespread in these regions. The meeting of these influences with the Ottoman artistic tradition and “minstrel poetry-music” in Anatolia created a unique artistic field that enabled Safavid culture to meet the Anatolian culture. This connection can also define Shah Hatayi’s connection to the Khorasan-Anatolian-based school that can be seen as the main philosophical school of Medieval Anatolia as adressed in this article.