Water in Turkish Literature: The Example of Sultan Suleiman’s Water Foundation
Gülşen SezenThe charitable allocation of a property or income to a foundation in the form of a trust dates to the first years of Islam. This foundation tradition influenced Islamic regimes intensely and continued in the Ottoman Empire, where it always retained a special place. In the 16th century (December 24–31, 1565), Sultan Suleiman established a foundation for water in the Ottoman Empire that was named after him. The charter for this organization, called a vakfiye or vakifnâme, is the main subject in this study. Words, expressions, descriptions and imagery, compliments, metaphors, etc., all of which pertain to water, are present in the vakfiye text. These can be taken as evidence of how water culture emerged and lived in social memory and of the direction in which it developed. The main purpose of this article is to describe how water imagery reflects both language and culture. Accordingly, numerous references to water in the subject matter of the study are examined, for example: ocean, sea, river, fountain, rain, April rain, spring water, pure water, rain drop, heavenly waters, River of Kagithane, water of life etc. Some relevant architectural terms are also considered; water arch, bridge, bath, haunch, public fountain, fountain, and pool.
Suya İşlenen Edebiyat: Kanunî Sultan Süleyman’ın Su Vakfiyesi Örneği
Gülşen SezenHayırlı bir iş için sahip olunan malı veya geliri tahsis etmekle oluşturulan vakıfların geçmişi İslamiyet’in ilk yıllarına kadar dayandırılmaktadır. Vakıf kurmak ve onu işletmek İslamiyet’in yoğun etkisiyle bir kültür olarak Osmanlı topraklarında da sürdürülmüş ve vakıfların daima özel bir yeri olmuştur. Bilindiği kadarıyla Osmanlı Devleti’nde su için vakıf kuran ilk kişi Kanunî Sultan Süleyman’dır. 16. yüzyılda (24-31Aralık 1565) tesis edildiği bilinen bu vakfa ait metin (vakfiye* , senet, vakıfnâme) çalışmamızın konusu olarak belirlenmiştir. Vakfiyede geçen suya dair ibareler, anlatımlar, tasvir ve betimlemeler, övgüler, benzetmeler, vb. yaşatılan kültürün toplum hafızasına nasıl yerleştiğinin ve ne yönde geliştiğinin delili olarak görülebilir. Bu manada edebiyatın suya işlenen yönünü gösteren su vakfiyesinden yola çıkarak suyun hem dildeki yansımasını hem de kültürdeki karşılıklarını tespit etmek makalenin temel amacıdır. Amaç dâhilinde okyanus, deniz, ırmak, pınar, yağmur, nisan yağmuru, memba, saf su, damla, cennet suları, Kâğıthane Suyu, hayat suyu (abıhayât) gibi su öğelerinin yanı sıra; su kemeri, köprü, hamamlar, su ayağı, sebil, çeşme, havuz gibi su mimarîsine ait eserler ele alınmıştır.
Water, which came to signify wealth, prosperity, fortune, and credit to the state, raised the Ottoman Empire to the level civilization. Sultan Suleiman established a foundation for water in the Ottoman Empire that was named after him. All income earned from certain villages, townships, fields, territories, and regions was allocated to support the work of the water foundation by Sultan Suleiman.1 Procedures and responsibility for the work of the water foundation were set out in a foundation document called a vakifnâme or vakfiye. According to the document, a decision was made to give overall incomes to the foundation for repair of water supply systems, fountains, buildings, ways, arches, etc. which were under the foundation’s charge. It was stipulated that the funds from certain mosques, madrasahs, holy temples, and hospices in Istanbul, would be transferred to the foundation if its income was not enough for repair. All properties and possessions of the foundation were transferred to vizier/sadr-i azam Mehmed Pasha, son of Sinan, as trustee. He was given the responsibility for such tasks as setting up the foundation, recording procedures, registration, and making instructions. Gulabi Agha, son of Abdulhalim, and Numan, son of Abu Khanifa Sabit, were also chosen as trustees. In the event the foundation had a problem, Imam Abu Yusuf and Imam Muhammed Sheibani were charged with giving judicial decision according to Islamic laws. A curse was set on anyone who made a change or who ignored the jurisdiction of the foundation; it was said may the sin of this (and the curse of Allah, angels and all people) be upon them. The date of the foundation’s establishment was determined as December 24–31, 1565 (AD), the 973rd year of Hegira.
The aforementioned foundation documentis the subject matter of this study, whose main purpose is to trace water culture through close reading of the document. Accordingly, the text was first translated into modern Turkish, after which it was scrutinized, and certain deductions made. Islamic elements were frequently included in the charter, encompassing which properties of water were acceptable,2 the supposed healing properties of water, etc. Therefore, for example, water is cause to express one’s thanks, evidence of God’s creative power and wisdom, and an example of unlimited justice and truthfulness. It represents the authority that the Sultan must have; it is a reason to seek achievement/goodness/kindness and is a good deed of Sultan. Finally, it is a metaphor to express Islamic conditions and the truths of theological-earthly-definite knowledge, whether as a symbol of the breadth of sovereignty or as a metaphor for God’s mercy sought through prayer and good wishes. It is a nurturing force that causes growth. It provides frequent opportunity to remember the Sultan in a good way, and to describe the favors he has accomplished. It is a sign of the long-term and of the continuity of time, and is used to wish people well. It is a sign of the Sultan’s benevolence to give it to his own nation.,It is used a metaphor for a place to inspirations come. It justified the production of innumerable structures, raises cities to the level of civilizations, and gives to them a rare beauty. It is an indispensable item of heavenly imagery, and of one’s place in heaven, giving everyone the opportunity to reach heaven. It is a symbol of blessing and proof of plenty, and essential element of life. It make a view/building fascinating. It provides thanks to God in prays. It is a symbol for theological knowledge and a resemblance of one’s nature glorified.
