Musician Portraits From the Ottoman Bureaucracy
A Polymath in the Ottoman Bureaucracy: Kazasker Mustafa Izzet
İbrahim OdabaşıArtists, litterateurs, and scholars were always patronized from the ancient kingdoms to the last period empires in the courts. After Islam, especially with the court life that started with the Umayyads, the caliphs gave place to the courtiers and companions who had literary and artistic aspects in their assemblies and prized them. Patronage reached a magnificent level during the Abbasid period, especially in the Harun al-Rashid caliphate. After the collapse of the Abbasid state, artistic and intellectual activities continued under the auspices of influential people in the region. The Ottomans, who became the dominant power in the region after the Seljuks, Timurids, and Mongols shortly after the fall of the Abbasids, continued the tradition of patronizing artists, poets, litterateurs, and scholars. Murad II, Fatih Sultan Mehmed, and Bayezid II encouraged artists, especially musicians, in the 15th century. In addition to the support given to practice music, treatises about the theory of music dedicated to the sultan of the period were also rewarded by the sultans, and this ensured the continuity of the advar tradition. Thus, it contributed to forming a music synthesis in the Ottoman court culture. Most of the sultans were engaged in art themselves. They set a model for those working at the highest level of the state. Artist personalities emerged in the bureaucracy, which constituted the administrative mechanism of the state. One of these people is Mustafa Izzet Efendi, who is known as a famous nay player, composer, and calligrapher besides his duty as a kadı asker. In this chapter, the life and works of Mustafa Izzet as a bureaucrat and artist are examined by exposing the relationship between music and patronage in the Ottoman Empire.