During his travels through Kurdistan, Evliya Çelebi spent time as a guest of the Kurdish scholar-ruler Abdal Xan of Bidlis. Abdal Xan appears to have left a strong impression on him, prompting Evliya to devote an unusually lengthy passage to praising his accomplishments.
The key question, however, is how much credibility should be assigned to Evliya's portrayal and what factors might explain his remarkably favorable depiction of the ruler of Bidlis. Some of Evliya's claims are impossible to verify and bear the hallmarks of the exaggeration for which he is famous. Yet other aspects of his account can be more readily explained and are supported by other sources.
It is also important to place Evliya's observations within the broader context of his travels and political involvement in Kurdistan. The relationship between Evliya and Abdal xan was more complicated than these passages might suggest. In fact, the two men found themselves on opposing sides of a political conflict, and Evliya was later taken hostage in Bidlis. Against this backdrop, his admiration for Abdal Khan becomes all the more noteworthy:
In architecture he is a master engineer. The plan of the great palace described above was entirely his own conception, and it was built according to his specification. It is like the palace of Bilqis or Candace. In the art of bookbinding he is like Sultan Süleyman's chief binder. In painting he is the equal of Bihzad and Mani. His depictions are so realistic, they seem to be alive. As a calligrapher he rivals Imad and Mir Ali and Kutbeddin Mehemmed Yezdi in the Ta'liq script. As a poet he is the unique of the age, rivalling Azmizade Haleti and Cami and Hafiz and Saib in composing odes and rubais. He is a sea of verbal wisdom. If he takes an Arabic book in his hands he can translate immediately into Persian and read it faultlessly and elegantly; while Turkish chronicles he can recite in fluent Arabic or Persian. Such an ocean of wisdom and a fine litterateur he is. A master ironsmith, he makes Sheykhani and Ma'arravi and Zivzik swords and daggers and knives, the likes of which the workshops of Isfahan cannotproduce; and no one can turn the blade of the trenchant sword tempered by his anvil.
He is a master goldsmith, and does all the jewel-setting himself. He plaits a kind of horsetail aigrette from gold and silver thread that sells for three thousand piasters, and he sends one or two of them each year to the Ottoman sultan as a gift. It is quite a marvel. He also makes tobacco pipes interlaced with various kinds of gold and silver thread and tiny pearls -- beyond human capacity!
He is a master clockmaker, manufacturing clocks marking the month or the day, indicating the zodiacal constellations or the daily account book, or operating with an alarm. Even Can Petro and Kashper cannot expend such skill on a clock.¹ On his own finger he had a signet watch like that which my late father made for the signet of Sultan Mehemmed the conqueror of Egri, a work of magic: when the hour came, the watch pricked its wearer's finger, and from that he knew what time it was. Another such signet was on the finger of the Khan's son-in-law Beg, the khan of Mahmudi, and it too was the Khan's handiwork.
He was a master seal carver and engraver, whose fine calligraphic rhyming-prose inscriptions carved in Ta'liq or Riq'a rivalled those of Ahmed Beg and Ferid and Sırri. He also wrote white inscriptions on Yemeni (blades) with a type of aquafortis which never faded. He has seals of land and time that are matchless.
A master singer, his mother is like the mode Rast and his father like Dugah. No other singer -- unless it was Pythagoras or Abdullah Faryabi or Ghulam-i Shadi -- knew so many types of songs. He has a very powerful and doleful voice, with which he extemporizes, in twenty-four rhythmic cycles, verses of Hafiz while striking the tambourine. When he recites Kar or Savt or Zecel, the listener is left marvelling.He is a master musician, owns one hundred and sixty musical instruments of various kinds -- reed flute, panpipes, harp, dulcimer, pandore, six-stringed lute, four-stringed lute, Arabian lute, violin, psaltery, harp [sic], trumpet, small kettledrum, Turcoman reed-pipe, flute¹ -- and plays them as well as Zühre-i Sührab or Baba Chengi or Ali Rebab. He makes all of these instruments himself, and in mother-of-pearl inlay he rivals Kırtıl Can Hindi.
As a caller to prayer he is like Bilal-i Habeshi.
In racing he is like Amru Umeyya Zamiri.
As a barber he is a second Selman Pak.
As a judge he was a veritable Zu'n-nun-i Misri.
As a story-teller he was Suheyb-i Rumi.
When he preaches he is a second Hasan-i Basri.
In Koran interpretation he is like Abdullah ibn Abas.
In military prowess he is a Malik Eshter or an Ali, Lion of God, mounted on Düldül.
In bowmaking he is a Mehemmed ibn Ebi Bekr.
In drawing the bow he rivals Sa'd-i Vakkas.
In generosity he is a Khatem Tayy or a Ca'fer Bermeki.
In ascetic exercises he is like Ebu Derda Amiri, who subsisted on the fast of David; but in his earlier days he used to frequent taverns.
In feeding the poor he was like Oman ibn Umran.
In fireplay he was like Ebu Omar Abdullah Vasiti.
In making bottles and in bottle jugglery he was a very Avicenna.
He constructed a hot bath as though he were Muhsin ibn Osman. It is described below.2
As a dyer he was like Zeyd-i Hindi.
In tailoring he is similar to Davud Tahiri.
In weaving he is a Zahid el-kattan. He presented Melek Ahmed Pasha with a handmade embroidered prayer rug such as they cannot weave in Cairo or Isfahan.
In making various turban caps and Bektashi headcovers, he is a second Abdullah Vasiti.As a furrier you would think him Omar ibn Amiri.
In making felt caps and felt rugs, he is Ebu Said Tari.
In calligraphy he is Abdullah Kufi.
In versifying he is like the Prophet's own poet, Hassan ibn Thabit.
In ironworking he is Ebu Zeyd Muslim Haddad.
In cauldron foundery he is Ebu Habib Muhyiddin.
In needlework he is Ebulkasim Attar.
In veterinary medicine he is a veritable Ebu Kasim es-Semmak.
As a jeweler he is like Nasr ibn Abdullah.
In making confections and sweets he is a Huseyn ibn Nasir.
In making scents he is Hüsam ibn Abdullah el-Basri.
In silk working he is Abdullah Ca'fer Tayyar or else the imam Mehemmed Ghazali.
In making various Circassian boots and slippers and shoes he is like Ekber-i Yemeni whose noble name was Mehemmed.
In fashioning harnesses and stirrup thongs and saddles embroidered with gold and silver thread, he is Ebunnasr Khatem-i Baghdadi.
As a cobbler he is like Omar ibn Yaser.
In swordmaking he is Esir-i Hindi Seyyaf.
He fashioned shields that were like the work of Hasan Kattal Ghazi.
In his artificial lake he caught various fishes with nets and lines as skillfully as Nasrullah Semmak.
In treating wounds he is like Ebu Ubeyd Kassab.
In carpentry he is like Ebulkasim Abdülvahid Neccar.
In lathe turning God knows he makes such incomparable objects that Ebu Ubeyd el-Kharrat himself was incapable of making. He sends abroad as gifts his rounded spoons for adding water to ink; also pen cutters, thumbstalls, and antimony styluses.
He makes various kinds of arrows for target shooting (pūta), practice shooting (āzmāyish; zīzān), heavy and light flight arrows (heki, peshrev), standard-length or "nock" arrows (gez), and tomar which Mehemmed ibn Imran cannot make. He made one arrow from 150 reed stripsthat was hollow from notch to point and he could shoot..... gez¹ with a bow weighing..... dirhems. Truly he hung his bow on the loftiest peak.
In bowmanship he is Sam-i Akran. In one draw of his bow he shot from a single bowstring two arrows in front and two arrows behind, in the presence of Sultan Murad IV, and was awarded the kharāc of Mush in perpetuity. He can do hundreds of such shots, like white magic.
In dyeing he is like Amir ibn Abdullah as-Sabbagh.
For all the instruments he plays, he makes his own strings, more expertly than Pir Omar ibn Nasir el-Vettar. He also makes strings (fobs? springs?) for watches (or clocks) from the gut of small bobtail birds, and these last ten years.
He makes all sorts of goblets and mugs and jugs out of enamel-like glass, such that Pir Abdülghaffar Medeni could not accomplish.
In order that the bread he eats will be legitimate and pure, he sometimes engages in agricultural pursuits, more skillfully than Riyath ibn Omar al-Harrath.
In horticulture he is like Ebu Zeyd Hindi Baba-reten himself, and so this garden of his betokens the gardens of paradise.
In short, God has endowed this Khan with such cleverness, intelligence, and understanding that aside from the skills listed above he has shown authority in the practice of thousands of other arts. He is like a second Cemshid. If we were to describe every craft and skill in detail it would take an entire volume.
He has fourteen noble sons, among them Ziyaeddin, Bedir, Nureddehir, Sheref, Ismail, Shemseddin, Hasan, Hüseyn. All are masters of a thousand skills, resourceful and clever, noble princes, who have demonstrated their authority in various sciences and arts. For this reason, in the above enumeration of the Khan's skills, I cited the elders and patrons of the various crafts, those ancient ones who, in the presence of the Prophet, were initiated by Ali and Selman Pak.
What Evliya appears to have intended to capture was the Badlisi rulers' library, which allowed Abdal Xan to interact with books from different directions; also, the Badlisi rulers did not set up their libraries for display. Abdal Xan was involved in research and translation. Evliya encountered someone who had access to one of the largest collections of separate book titles in the Middle East and was likely familiar with the majority of the material.
Evliya Celebi credited this poem to Abdal Xan. Whether it's the poems, translations of works, or research, these items help us to reconstruct what Abdal Xan would have had access to in terms of literature, and how unusual that was in the 17th century:
My heart began to dance in ecstasy of longing for your cheek.
It came to market as bad cucumbers from the ruined garden.
Wretched with love-pain for you, the crazed one came to the asylum.
Swollen and sick, he came to the hospital.
From being burned in the fire of cruelty, he came to a weakened state.
Be kind and clutch this ruined heart with the talon of benevolence.
If you will favor us with a quarter bushel of ripened fruit of beauty.
No wonder if I am contorted, for your curl has made a lasso.
The talon of separation has crumbled me while clapping hands.
As a tailless fledged chicken, he came to the rose garden.
The pretender wrapped a pointed turban on his head and turned into a hare (?).
To cleanse his crooked face he put it into the fire.
He is gluttonous and filthy -- look now at the dirty one!
A mean rival and a trough with food for dogs.
Yesterday he changed spoons with his skirt, today he denied it.
The beloved squatted down and struck that rival with a pen-knife.
He writhed strangely, like bulghur boiling in a pot.
He looked at his plague, turned his face, and laughing said: "Thank God the pretender had boils on his skin (?)
No wonder he is weak: every calamity befell the rival."
That wizard put old tattered clothes on his back.
Like wood chips he came to the edge of the earth oven to be face to face.
Hopping like chickens and shaped like a black bogey, the foul fiend.
In this form the rival rubs against the beloved like soap chips.
Look at his strange shapes: the trickster has come.
Tie your curl ribbon as a swing to the heart's tapkin (?).
Do not put the skein of your curls like cotton wound on the spindle.
Make the fetter of your curls a string round my neck, my darling.
Do not crush your curl thread with a mill-crank for me.
The heart came to market like a pot without its string.
The holiday beauty applied rouge to his face, your shame rubbed on white paint.¹
What need for lulu curcan? Explain that thorn of yours.
A bride's veil on his head, ownerless, that snot-nosed foul one of yours.
Or is it a wedding party, does he bring gifts, that rival of yours?
That is, disguised as a wedding inviter, he has been let in on secrets.