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Inskrypcje na tatarskim cmentarzu w Osmołowie

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Drozd A.
Przegląd Orientalistyczny
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2016
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issue 1-2
73-88
EN
Osmołowo (Bel. Asmolava) is a village located near the town of Kletsk (Pol.=Bel. Kleck) in the eastern territory of the Polish-Lithuanian Commonwealth (today south-west Belarus). Since the middle of the 16th century it had been the centre of the Tatar settlement in the Kletsk Duchy which was the property of the Radziwiłł noble family. The only Tatar cemetery that has been preserved in Osmołowo until today had been founded at the beginning of the 19th century. The oldest grave with an inscription dates back to 1805. We have discovered 27 inscriptions from the 1st half of the 19th century The epigraphical tradition in Osmołowo at that time represented similar trends as in other cemeteries of the Polish-Lithuanian Tatar gentry. The inscriptions had been composed of Arabic or Turkish confessional formulas (mainly shahada) and of the information about the deceased (name, date of death, military ranks, family affiliation) in Polish, written in Latin and/or Arabic script. In the next decades of the 19th century, the inscriptions developed in the same way as in other cemeteries of the small-town communities of the Tatars during this period which meant that the Arabic script was used both for the confessional section and informative section (in Polish or Belorussian), and introduction of more varied Arabic or Turkich eschatological formulas as ayat 3:182, and Turkish invocations Allāh raḥmet eylesin (Tur. “Let the God have mercy”), ey ğennet müyesser eyle (Tur. “O, paradise, be accessible”) which eventually transformed into Allāh raḥmet eyle ğennet firdeuse (Tur.-Per. “O, God, have mercy, heaven, paradise”).
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O twórczości literackiej Tatarów w dobie staropolskiej

100%
Drozd A.
Przegląd Orientalistyczny
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2017
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issue 1-2
19-44
XX
The Polish-Lithuanian Tatars began to form their own literature in the Polish and Old Byelorussian languages from the end of the 16th century. All Tatar texts were handwritten exclusively in Arabic script, irrespective of their own language. Tatar writings were characterized by the anonymity of the author but we know the author of the most important literary achievement of this community – the complete translation of the Qur’an dated 1686: the imam of Minsk, Urjasz b. Ism‚‘īl Szlamowicz. Most of the Tatar texts were translated from the Islamic popular religious literature spread in the land of the Golden Horde and Ottoman Empire. The appearance of this sort of Tatar oeuvre resulted from the fact that the Tatars had lost their native tongue sometime within the 16th and 17th c. This made the translation of the popular Islamic literature necessary to preserve the Tatars’ own religion. The Tatar manuscripts also contain an important component adopted from the Old Polish Christian literature including the Polish translation of the Bible by Szymon Budny (1572) created for the Arians – the most radical protestant movement in the Polish-Lithuanian Commonwealth. The Tatars integrated a significant amount of motifs and ideas of their Christian social environment into their religious Islamic traditions. Therefore we can assume that another factor that contributed to the rise of the Tatar literature was the religious and cultural revival which encompassed the Polish-Lithuanian Commonwealth in the 16th c. during the Renaissance and Reformation era. Apparently it played an important role in the cultural integration of this Turkic-Islamic community with local Christian society and culture.
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THE DECADE OF EXPLORATION OF THE POLISH-LITHUANIAN TATARS' EPIGRAPHY. RESULTS AND PERSPECTIVES

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Drozd A.
Rocznik Orientalistyczny
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2009
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vol. 62
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issue 1
23-36
EN
Since 1998, when the first field works on the Polish-Lithuanian Tatars' material culture was carried out in Belarus, Lithuania and Poland, we have been able to draw certain conclusions concerning the epigraphy. Epigraphical activity of the Polish-Lithuanian Tatars has been revealed in the four major areas: a) decoration of minbars and mihrabs, b) devotional panels (muhirs), c) textiles (predominantly funerary ones), d) gravestones. Epigraphy of the Polish-Lithuanian Tatars proves to be one of the most important elements of the culture of this Oriental community inhabiting the territory of the Polish - Lithuanian Commonwealth since the end of the 14th century. The Tatars' epigraphy reflects their complex cultural situation, like the Tatars' handwritten religious literature in Polish - Byelorussian language and its dialects but rendered with the Arabic script. The most significant part of the Tatars epigraphy are the grave inscriptions. The oldest ones can be dated back to the 1st decades of the 17th cent. It was spring of 1998 when the author was invited to cooperate in preparing the 2nd volume of the 'Katalog Zabytków Tatarskich' (Catalogue of the Tatar Monuments), which was about to be published to commemorate the 600th anniversary of the Tatar settlement in Polish-Lithuanian Commonwealth. At that time very little was known of original material culture preserved by Polish-Lithuanian Tatars. Most of what we had expected to present in the Catalogue was the handwriting (religious books, as kitabs, khamails - though they were rather the subject of literature research) and the architecture of the mosques (though the mosques were also predominantly creations of local carpenters). Another area to be presented was the cemeteries (Pltat. mizar - Tur mezar, and the older form Pltat. zirec - Tat. zerät / ziyarät - Ar. ziyarat). The literature on this subject is reviewed. However till 1998 the Polish-Lithuanian Tatars epigraphy was generally unexplored area. The invitation for the work on the 'Katalog...' was connected with the urgent need of collecting the materials. A quick expedition to Belarus and Lithuania (summer1998) showed condition and importance of the Tatar cemeteries, thus opening a new field for the Polish-Lithuanian Tatars studies. The collected materials enabled to publish two volumes of the 'Katalog..'. The first one (1999) was devoted to the mosques, minbars and cemeteries. The second volume was devoted to the Tatars' religious writing, manuscripts and art of devotional panels called muhirs. The results of field works caried our in Poland, Belarus and Lithuania. within 2000-2008, are presented as well.
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Rysunek Franciszka Smuglewicza "Meczet Tatarów i ich nabożeństwo": Historia pierwszego ikonograficznego przedstawienia meczetu i Tatarów polsko-litewskich

100%
Drozd A.
Przegląd Orientalistyczny
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2022
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vol. 1-4 (281-284)
21-34
EN
At the end of the 18th century, the first depiction of a mosque and of the Polish-Lithuanian Tatars was created – a drawing by the popular artist of historical and religious painting of the King Stanisław August Poniatowski’s era and the founder of the Vilnius painting school, Franciszek Smuglewicz, “The Mosque of the Tatars and their service”. Made with ink, despite its small size, it shows with great precision the interior of the mosque in Łukiszki near Vilnius and the praying Tatars there. For a long time, it was dated to 1781, but in light of the current findings on the life of Franciszek Smuglewicz, the date of the drawing needs to be moved to 1785 or 1786. It is an excellent iconographic document containing many reliable details, such as the Tatar clothes, the imam’s outfit, their prayer gestures and items used during prayer, the minbar with forms borrowed from rococo church furniture, spatial arrangement of the prayer room, longitudinal division of the interior of the mosque into a male and female hall separated by a wall with a sight gap covered with a curtain, stripes stretched on the floor cloths used instead of prayer rugs, candlelight, prayer benches for the disabled. For the first time (and the only time, until the photographic documentation from the 20th century), publics who had no direct contact with the Tatars could come into contact with their religious practices and the temple’s interioring was not widespread for a long time. Along with twenty other similar views of Vilnius, it was included in an album that belonged until the 19th century to the Jaszczołd family from the Kingdom of Poland. In 1843, the Russian army’s lieutenant of the corps of engineers, Jan Jaszczołd (d. 1858), made it available to prof. M. Homolicki in Vilnius, described the contents of the album (but without discussing the depiction of service in the mosque). Jan Jaszczołd was a son of Wojciech Jaszczołd (d. 1821), a Polish painter and decorator who had been trained by Smuglewicz – this can explain why the album with views Vilni s was eventually found in Jaszczołd family. Later, the Jaszczołd album found its way to the collection of Emeryk Hutten-Czapski at the National Museum in Krakow. Only then (in 1912) the drawing could reach a wider audience, as it was published in black and white photographic reproduction. It is worth adding that the entire album, including the discussed view of the service in Łukiszki, was commissioned by Prince Adam Kazimierz Czartoryski.
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