
322 part two—chapter three
the term was already used in parallel with its Persian equivalent nişan
(
نﺎﺸ
ﻧ
, “sign”). e inscriptions on the tamġas were initially engraved
in Uighur script, but the Golden Horde chancery already used Arabic
script, precisely its square variant named Ku that is also found in the
engravings of medieval coins as well as monumental inscriptions.
e earliest Crimean instrument of peace, preserved in original, is
the one from 1514, issued by Mengli Giray. Although it is drawn in
Italian, it also contains three nişans with inscriptions in Arabic script.
Apart from using his own nişan, impressed at the top, Mengli Giray
corroborated his document with the nişan of his father, Hadji Giray,
which is impressed twice at the bottom. Already in 1467, during his
rst reign, Mengli Giray corroborated a document with his father’s
nişan, which is impressed four times while Mengli’s proper nişan is
missing entirely. is earlier case may be explained by the fact that
perhaps, having recently ascended the throne, Mengli did not have the
time for his proper nişan to be made and, besides, he felt insecure on
the throne so he needed to invoke the authority of his late father.
249
Yet,
such an explanation would make no sense in 1514 as Mengli had been
in power for almost y years by then. What seems even more strange,
the nişan of Hadji Giray was still used by the latter’s grandson, Sa‘adet
Giray, who in 1524 corroborated his document with three impressions
of his grandfather’s nişan, and one impression of his proper signet
seal.
250
Like Mengli in 1467, Sa‘adet certainly felt insecure as his rights
to the throne were instantly challenged by his nephew, Islam Giray,
and perhaps he also had no time to order his proper nişan to be made.
Yet, one can still ask why did he not use the nişan of his father, Mengli,
instead? A hypothetical answer is that the latter might have been lost
in 1523, when the Nogays had ambushed and killed Mengli’s oldest
son and Sa‘adet’s predecessor, Mehmed Giray. To return to Mengli’s
instrument from 1514, sent to Poland, the khan’s decision to impress
his father’s nişan might have been thought as a conscious invocation
of the past friendship that had lasted in Hadji’s times but had been
disturbed in the more recent period.
e impression of Hadji Giray’s nişan on Mengli’s instrument from
1514 measures 12 × 11.5 cm., but probably the nişan iself measured
249
Cf. Usmanov, Žalovannye akty Džučieva ulusa XIV–XVI vv., pp. 33 and 67.
250
Ibidem, p. 38.