Minstrels, Asiks, Saz Poets, Meddahs and Storytellers of the Ottoman Empire in the Context of Patronage Relations

Abstract

It is a known fact that the Ottoman palace supported and steered artistic activities. However, when considered collectively in terms of both divan and asik (minstrelsy) tradition, the attention of the palace can be reached by some numbered names. On the other hand, it is observed that poets/ writers living outside of Istanbul-far from the great cultural centers of the empire and producing in the Ottoman provinces- are protected by prince sanjaks, beylerbeyi centers, governor pashas, vizier who were expelled from Istanbul for various reasons, the frontier chiefs in charge of protecting the borders or relatively small civil servants such as the fiduciary and accountant who are well-off. In this study, how and by whom the names belonging to the tradition of minstrelsy are protected both in the palace and in the provinces will be shown, and the literary circles of art activities spread from the center to the province will be evaluated. In the study, it is stated that the Ottoman Palace was an important patronage center for the minstrels who produced both poetry and music performances; the protection for the asiks is sometimes shaped by high-level bureaucrats working at the sultan's level and sometimes at the palace; it is revealed that there are short-term forms such as performing a work, as well as long-term examples such as performing certain duties in the palace. From the 15th century onwards, it is seen that among the storytellers (kissahans) and meddahs who were frequently encountered, primarily in big cities, and who performed their arts in mansions and palaces, well-educated people with a high level of intellect worked as musahib and nedims (mentors) and had an important place in the palace. The artists in question had prestigious positions in the palace from the period of Yildirim Bayezid until the last period of the Ottoman Empire. In addition to their duties as nedim / musahip, the number of asiks who perform short or long-term performances in the palace and who are asked to continue this profession in the palace environment are also high. It is understood that among the asiks who performed in the cafes of the minstrels, most of whom were in Istanbul, they were assigned to the palace and received attention, as in the example of being in the saz committee. Sometimes, it is acknowledged that, with their patronage positions in the Ottoman Empire, state officials supported the names they held in their neighborhoods to write satire and criticism or directed them to produce such content. In the study, it is seen that the local governor representing the provinces besides the Ottoman palace and the administrators of their neighborhoods, such as the village aghas, served as patrons for artists in similar positions. At the end of the study, it is seen that the Ottoman tradition created environments that could be addressed to all kinds of literary production in every period; it is understood that administrators from all segments of society, who are interested in art, support artistic production at all levels, from the sultan to government officials, local gentlemen, village lords and bandits.