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• W4386778252 abstract "Reviewed by: Enlightening Europe on Islam and the Ottomans: Mouradgea d'Ohsson and His Masterpiece by Carter Vaughn Findley Simon Mills Carter Vaughn Findley. Enlightening Europe on Islam and the Ottomans: Mouradgea d'Ohsson and His Masterpiece. The History of Oriental Studies, Volume 5. Brill: Leiden and Boston, 2019. pp. xv + 398. Hardback, €77.00/ $93.00. ISBN: 978-90-04-36312-0. Carter Vaughn Findley's Enlightening Europe on Islam and the Ottomans is a meticulously researched and beautifully produced study of the life and work of Ignatius Mouradgea d'Ohsson (1740–1807), an Armenian Catholic from Istanbul, who gave the Enlightenment its most-authoritative, best-illustrated account of Islam and the Ottoman Empire (1). Born to a French mother and a father employed by the Swedish consulate in Izmir, d'Ohsson followed the latter into Swedish service, rising to become first translator to the legation in Istanbul. He also engaged in trade, benefitting from his ties to a European embassy and his marriage to the daughter of a wealthy and well-connected Armenian financier. However, d'Ohsson's ambitions reached beyond the practical business of diplomacy and commerce. In 1784, he left Istanbul for Paris. There, he set about publishing the extraordinary Tableau général de l'Empire othoman, which appeared in two separate versions: an extravagantly [End Page 367] illustrated (31) folio, commenced in 1788, and concluded by d'Ohsson's son in 1820; and an octavo, printed between 1788 and 1824. Chapters 1–3 of Enlightening Europe reconstruct d'Ohsson's remarkable life: his departure from now-revolutionary Paris in 1791; his sojourns in Vienna; and his return to Istanbul, promotion to chief minister for the Swedish legation, and dismissal at the insistence of the Ottoman government in the wake of Napoleon's invasion of Egypt. Yet the largest part of the book, Chapters 4–11, is a detailed analysis of d'Ohsson's masterpiece. The Tableau général is not unknown to historians. However, it has generally been studied in the octavo edition, the few engravings that give but a wan idea of the total illustration program (31). Findley redresses this neglect by paying due attention to the images in the folio edition. The analyses of the Tableau général's presentation of Islam and the Ottoman state are complemented by a thorough documentation of how these topics were illustrated in the book. This dual approach has yielded many new insights. D'Ohsson relied extensively on the fifteenth and sixteenth-century Ottoman jurist Ibrāhīm al-Ḥalabī's Multaqā al-abḥur, which he knew through the translation and commentary by Mehmed Mevkufati, and styled as a code of authoritative Ottoman jurisprudence. He also drew on al-ʿAqāʾid (dogmatics) by the Persian-born jurist and theologian Abū Ḥafṣ ʿUmar an-Nasafī (1067–1142), which supplied material for the Partie dogmatique of the account of Islam. Findley argues convincingly that d'Ohsson's restructuring of his Islamic material reflects the Ottoman practice of ʿilm-i hal, a set of basic religious beliefs, practices, and behavioral standards (113), which he would have learned from his Ottoman tutors. More speculatively, Findley suggests a European influence on the Tableau général: the urge to codify Swedish law, resulting in the 1734 lawbook Sveriges Rikes Lag. Memoranda on Ottoman governance produced by the Swedish legation are a more likely precursor for d'Ohsson's project. Other parts of the Tableau général were the fruit of d'Ohsson's own studies and experiences (114). His vivid description of the plague, reproduced at length (274–76), exemplifies well his method. In his account of the visual material, Findley uncovers a production chain (61) whereby images drawn in situ in Istanbul were then redrawn and engraved in Paris. The most important figures in this story are Konstantin Kapıdağlı, the Greek–Ottoman court painter, and Louis-Nicolas de L'Espinasse. A highlight of their collaboration is the view of Mecca (beautifully reproduced, 191–93). Findley's careful attention to detail has yielded many insights. It has been pointed out before that the Tableau général was a pro-Ottoman, pro-Islamic counterblast to..." @default.
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• W4386778252 title "Enlightening Europe on Islam and the Ottomans: Mouradgea d'Ohsson and His Masterpiece by Carter Vaughn Findley (review)" @default.
• W4386778252 doi "https://doi.org/10.2979/tur.2022.a902209" @default.
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