The beginning of miniature in Turkish art coincides with the Uighur period in Central Asia. There are mainly four periods in the Ottoman miniature tradition: Early Period, Rise, Classical and Westernisation. When miniature subjects and styles are examined, it is seen that especially religious and mythological subjects are included. Miniatures in the genres of Kısas-ı Enbiyâ, Şehnâme and Acâibü'l-mahlûkât are the main examples. Later on, miniatures can be found in works such as Nizâmî's Hamse and Leylâ vü Mecnûn, which contain love stories with two protagonists. Along with this, the miniatures that were shaped around the sultan and the royal palace until the XVIIth century became more frequently seen depicting daily life in various ways during the reign of Ahmed I and later periods. The miniaturization of some of the stories in the Hamse of Nev'î-zâde Atâyî (d. 1045/1635), who wrote his works in the first half of the 17th century, by miniaturists about a hundred years after the work was written, is important in terms of including daily life scenes into the miniature examples. So far, five miniature copies of Hamse have been identified. Within the framework of these copies, the twenty-fifth Sohbet of Sohbetü'l-ebkâr masnavi and the miniatures of the two stories in the fourteenth Nefha of Nefhatü'l-ezhâr are presented, as well as visual and visual representations of the Istanbul life of his period. It was also examined how it was reflected as a written text.

Nev'î-zâde Atâyî, Hamse, story, miniature, Istanbul, social life.