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Friday, April 06, 2007

Mehmed Nazif Bey (1846 -1913)

By Mehmed Nazif Bey sülüs script panel from Mehmet Özcay Collection, Turkey.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mehmed Nazif Bey (1846 -1913)

By Mehmed Nazif Bey celi sülüs script panel.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mehmed Nazif Bey (1846 -1913)

By Mehmed Nazif Bey iceli sülüs script panel.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mehmed Nazif Bey (1846 -1913)

Mehmed Nazif Bey (attributed), dated 1330(1911) 345x28 cm.

Photograph ©Auction House Portakal, Istanbul.

Mehmed Nazif Bey (1846 -1913)

By Hattat Mehmed Nazif, dated 1318 (1900) 11x23 cm.
Photograph ©Auction House Portakal, Istanbul.

Kadiasker Mustafa Izzet Efendi (1801 – 1876)

By Kazasker Mustafa Efendi celi sülüs script framed inscription, 46x37 cm, undated.

Photograph ©Auction House Portakal, Istanbul.

Kadiasker Mustafa Izzet Efendi (1801 – 1876)

By Kazasker Mustafa Efendi celi sülüs script framed inscription.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Kadiasker Mustafa Izzet Efendi (1801 – 1876)

Epitaph by Kadiasker Mustafa Efendi in Besiktas (Istanbul) Kücükmecidiye Cami entrance door in celi tali script.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Kadiasker Mustafa Izzet Efendi (1801 – 1876)

Inscription of the dome of Hagia Sofia (Ayasofya Camii kubbesi) in Istanbul by Kazasker Mustafa Izzet Efendi.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Kadiasker Mustafa Izzet Efendi (1801 – 1876)

By Hattat Kadiasker Mustafa Efendi a sülüs nesih script Hilya.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Bakkal Ahmed Arif Efendi (1830 – 1909)

By Bakkal Arif, dated 1315 (1897), a celi sülüs script framed panel. A poem vers by Sultan Süleyman I. "“Alem içre muteber bir nesne yok devlet gibi olmaya devlet cihanda bir nefes sıhhat gibi”.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Bakkal Ahmed Arif Efendi (1830 – 1909)

By Bakkal Ahmed Arif Efendi a sülüs nesih script Hilya.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Bakkal Ahmed Arif Efendi (1830 – 1909)

By Bakkal Ahmed Arif Efendi a celi sülüs nesih script Hilya.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Hafiz Osman Efendi (1642-1698)

A work by Osman Efendis´firts master Dervis Ali I. a sülüs nesih script kit´a.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Hafiz Osman Efendi (1642-1698)

By Hafiz Osman Efendi a sülüs nesih script kit´a.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Hafiz Osman Efendi (1642-1698)

By Hafiz Osman Efendi sülüs nesih script kit´a.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Hafiz Osman Efendi (1642-1698)

By Hafiz Osman Efendi Hilya, Sadberk Hanim Museum, Istanbul.

Photograph ©Sadberk Hanim Museum, Istanbul

Hafiz Osman Efendi (1642-1698)

By Hafiz Osman a sülüs nesih script hadith panel from private collection.

Photograph ©Auction House Portakal, Istanbul. http://www.portakal.com

Hafiz Osman Efendi (1642-1698)


By Hafiz Osman sülüs nesih script Hadith panel.

Photograph © Auction House Portakal, Istanbul

Hafiz Osman Efendi (1642-1698)

By Hafiz Osman Efendi a Enam- i -Serif in nesih script from Ömer Faruk Dere Photography Archiv.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Thursday, April 05, 2007

Mehmed Sevki Efendi (1829 – 1887)

Icazetname with Hilya for Bakkal Ahmed Arif Efendi by Mehmed Sevki Efendi with signature of Yahya Efendi (lower left)

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mehmed Sevki Efendi (1829 – 1887)

A inscription from a Hadith Book by Mehmed Sevki Efendi (Private Collection Turkey)


Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mehmed Sevki Efendi (1829 – 1887)


Framed inscription by Mehmed Sevki Efendi in Bursa Ulucami Mosque in city of Edirne - celi divani script.


Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mehmed Sevki Efendi (1829 – 1887)

A framed inscription by Mehmed Sevki Efendi in Fatih Mosque Istanbul


Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Sheikh Hamdullah Efendi (1436 - 1520)

Epitaph by Hattat Seyh Hamdullah celi sülüs script - Istanbul Sultanahmet Firuzaga Cami Kitabesi

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Sheikh Hamdullah Efendi (1436-1520)


Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Wednesday, March 28, 2007

21 Century Contemporary Turkish Calligraphers

1-Prof. Dr. Ali ALPARSLAN
2-Hasan ÇELEBİ
3-Dr. Fuat BAŞAR
4-Mehmet ÖZÇAY
5-Osman ÖZÇAY
6-Davut BEKTAŞ
7-Hüseyin ÖKSÜZ
8-Adem SAKAL
9-Mehmet MEMİŞ
10-Hüseyin KUTLU
11-Hüseyin GÜNDÜZ
12-Tevfik KALB
13-Aydın
14-Turan SEVGİLİ
15-Savaş ÇEVİK
16-Tahsin KURT
17-Ali Rıza ÖZCAN
18-Mustafa KOÇAR
19-İsmail KANBAZ
20-Kadir KUŞKIRAN
21-Mustafa PARILDAR
22-Ali ihsan SAKAL
23-Bilâl SEZER
24-Muhsin DEMİREL
25-Yusuf SEZER
26-Abdulhadi (Erol) DÖNMEZ
27-Fevzi GÜNÜÇ
28-Doğan ÇİLİNGİR
29-Ahmet Tuna Acar
30-Aydın Köse
31-Kadir Sakoğlu
32-Ebuzer Özkan
33-Muzaffer Çubuk
34-Şaban Karib
35-Hikmet Sağlam
36-Tahir Güçlü
37-Esad Güçlü
38-Ahmet Zeki Yavaş
39-Emin Baran
40-Ömer Faruk Atabek
41-Emine SAĞMAN
42-Berrak ÖZDOĞAN
43-Cavide PALA
44-Betül KIRKAN
45-Melek SAYIN
46-Beatrice(Hilal) ÇİZMECİOĞLU
47-Merve ALTUNEL

Text and Photograph ©http://www.turkhattat.com

Tuesday, March 27, 2007

Turkish Calligraphy at 700 Years

M. Şinasi Acar, Türk Hat Sanatı-Araç, Gereç ve Formlar, Istanbul, p. 305 , ISBN 975-7843-03-2

In "Turk Hat Sanati - Arac Gerec ve Formlar" (Turkish Calligraphy -- Tools, Materials and Forms), M. Sinasi Acar introduces readers to the masters and forms of calligraphy as well as its tools.

Although the Turkish Republic uses the Latin alphabet today, artists who were involved in calligraphy are remembered as the most successful calligraphers in the entire world. The success of Turkish calligraphers continues even today as the names of such artists fill the top ranks of calligraphers worldwide.

This new book supports books that have been published in the past on the topic of calligraphy using Arabic letters. The book is made up of three sections. The first section covers paper finishing, reed pens, ink-making formulas, inkstands, sharpening instruments, types of pen sharpeners, pen cases and scissors. The second introduces the forms and shapes in which calligraphy is employed -- the Koran, pieces of poetry, collages of writing, framed inscriptions, descriptions of the Prophet and Muslim prayer books. The third section contains examples of other places where calligraphy is to be seen.

Author Turgay Artam says: "When one has to say something about Ottoman art -- leaving aside architecture -- the most important branch of art is that of Husn-u Hat [calligraphy]. One could say that the art form became so significant that it was considered holy primarily because of the Koran, and this was the reason that particular attention was paid to every instrument which assisted in the writing. The various parts of the process from pen to paper, from pen sharpener to bindings to the paper used in writing have seen great interest in today's auctions."

Text © Turkish Daily News. http://www.turkishdailynews.com.tr/archives.php?id=12838

'Calligrapher Ottoman Sultans Exhibit'

Sunday, June 13, 1999

In Turkey, public and private museums organize various activities for Museum Week which takes place between May 18-24,1999. In this context, one of the most interesting displays was opened at the Foundations General Directorate's "Turkish Foundation Calligraphy Art Museum." The "Calligrapher Ottoman Sultans Exhibit," which opened on the occasion of the 700th anniversary of the Ottoman Empire and of Museum Week, was greeted with enthusiasm by art lovers and people interested in Turkish calligraphy.

"Some of the Ottoman sultans were interested not only in literature and music but also artistic writing, and that is why we can see their calligraphic works in religious buildings, museums and special collections. The sons of the Ottoman sultans also showed a keen interest in this art. Ottoman sultans who acquired a reputation for calligraphy were Murat II, Murat III, Beyazid II, Kanuni Sultan Suleyman, Murat IV, Suleyman II, Mustafa II, Ahmet III, Mahmut II and Sultan Abdulmecid. It is well known that Murat II was particularly skilled in "sulus" and "nesih," but we don't know who his teacher was. Bayezid II (1481-1512) studied at a religious school, took lessons from well-known calligrapher Sheikh Hamdullah and after he became sultan, he invited his teacher, who lived in Germany, to come to Istanbul.

Beyazid II, who used the pseudonym Adli, followed in the footsteps of his teacher and, at the end, their "sulus" and "nesih" writings were so similar that it was almost impossible to separate them. Kanuni Sultan Suleyman composed poems using the pseudonym "muhibbi" and we know from various sources that he was an expert in "sulus" and "talik." Murat III (1574-1595) took lessons from Sheikh Suca Halveti and wrote "nesih" and "talik." His works are preserved in the Turkish Foundation Calligraphy Art Museum and the St. Sophia Museum. It is believed that Murat IV (1623-1640) started writing "talik" after taking lessons from the Persian Imad.
Suleyman II (1687-1691) took lessons from Ahmet Efendi of Tokat and used the "sulus" and "nesih" scripts. Mustafa II (1695-1703) was the student of Hocazade Mehmet Efendi and Hafiz Osman and became an expert in "talik," "nesih," and "sulus." It is believed that a "besmele" (prayer recited by Muslims before starting a new project) which is kept in the St. Sophia today belonged to Mustafa II. Sultan Ahmet III (1703-1730) took lessons from the famous calligrapher of the time Hafiz Osman and wrote in the "sulus" and "celi" scripts. His writings were ornamented by famous gilding artist Tozkondurmaz Mustafa Aga. The "celi" hadith on the Yeni Valide Camii in Uskudar, the panel on the Ayazma mosque, the kiosk with his name in Sultanahmet and the script on the door of the Hirka-i Saadet Office where the sacred belongings of the Topkapi museum are kept are his work. Besides, two of his Korans have been sent to the Ravza-i Mutahhara in Medina. The Turkish Foundation Calligraphy Art Museum includes his calligraphy panels brought from the Ortakoy Kucuk Mecidiye Mosque and the Halicioglu Mihrisah Sultan Mosque.

Mahmut II was able to spare the time for art and especially calligraphy even during the most difficult times of the empire. He took lessons from Mehmet Vasfi Efendi and Mustafa Rakim. Beyazid II has calligraphy plates in the Suleymaniye and Uskudar Yeni Valde mosques, the Konya Mevlana Museum and the Turkish Foundation Calligraphy Art Museum. Abdulmecid (1839-1861) was an Ottoman sultan known for his sympathy for Western culture. He used the "sulus," "celi" and "rika" scripts and took lessons from Mahmud Celaleddin and Tahir Efendi. His works are kept in the Beylerbeyi Mosque and the Turkish Calligraphy Art Museum.
The plates on the altar of the St. Sophia were also written by Ottoman sultans. Yet the sultans did not want to sign them out of respect for the sanctity of the St. Sophia. It was only when experts analyzed the plates later on that they understood that the handwritings belonged to the rulers.

The "Calligrapher Ottoman Sultans Exhibit" at the Turkish Foundation Calligraphy Art Museum during Museum Week introduced this little known aspect of the Ottoman sultans to the people. Furthermore, museum director Dr. Z. Cihan Ozsayiner recently started new research at the Foundation's General Directorate. "

Text © ERDEM YUCEL, Turkish Daily News. http://www.turkishdailynews.com.tr/archives.php?id=12838

A Timeline of Ottoman Calligraphers

Transcription:"Küllü nefsin zaikatülmevt"
"Every soul shall have a taste of death:
in the end to Us shall ye be brought back."
QURAN 29/57 [The Spider]
Calligraphy by Dogan Cilingir


Non-Ottoman Calligraphers

1-İbn-i Mukle: Abbasî Halifelerinden Muktedir-Billah’ın veziridir. Kûfî yazıdan sülüs ve nesih yazılarını İbn.Mukle vücuda getirmiştir.


2-Ali İbn. Bevvâb :Kendisinden bir asır önce gelen İbn.Mukle’nin vazettiği esası daha ileriye götürmüş ve geliştirmiştir. Kıymetli yazıları bazı kütüphane ve müzelerimizde mevcuttur.

3-Ali İbn-i Hilâl: İbn-i Bevvâb ve İbn-i Mukle’nin yolundan devam etmiştir.


Early Turkish Calligraphers

4-Cemâluddin Yakut’ul-Musta’sımî (1204-1298): Kalemin ucunu eğri keserek aklâm-ı sittede büyük bir gelişme vücuda getirmiştir.Yakut’un yaptığı bu yenilik,hüsn-ü hat tarihinde bir inkılap niteliğindedir, kendisi Türk’tür.Kendisinden sonra gelen Osmanlı Türkleri de hüsn-ü hat sanatının zirve eserlerini vererek Yakut’ul-Mustasım Kaleminin hakkını vermişlerdir.

5-Abdullah Sayrafî: Yakut’un yolundan giderek bilhassa nesih yazılarında tekemmül vadisinde ilerlemiştir.

Ottoman Turkish Calligraphers

6-Meraşlı Hayrettin: Meraşlı Hayrettin üstat, Şeyh Hamdullah’ın hocasıdır.

7-Amasyalı Şeyh Hamdullah (1437-1520): Murakaası ( yani albümü ) Topkapı Sarayı Müzesi Yazı Salonunda teşhirdedir. Padişah ll.Bayezîd’in hocası olan Şeyh Hamdullah bihakkın „kıblet’ul-küttab“ unvanı ile meşhurdur.Çünkü kendisi memleketimizde ve diğer milletlerde bulunan bütün hattatların bilhassa sülüs ve nesih yazılarda teveccüh noktası olmuştur. Böylece en büyük yazı üstâdının Türkiye’de yetiştiğini bıraktığı şâheserlerle ispat etmiştir. Yazı yazarken çok defa mürekkep hokkasını padişah tutmuştur. Bu ise hakkında yapılan en büyük iltifât ve hürmete misâl olarak yeter de artar bile...

8-Karahisarlı Şemseddin Ahmet Efendi (1468-1556): Ahmet Karahisarî İran hattatlarının tesirinden kurtulamamıştır. Sinan devrinde yetişen ve „şeş kalem“ yazının yüzünü ağartan Karahisarî’ye Yakut-ı Rûm da denmiştir.

9-Tacuddin Celâl: Süleymaniye Camii’nin kitâbelerinin yazılmasında Şeyh Hamdullah tarafından Kanunî’ye tavsiye edilen hattattır.

10-Bursalı Şerbetçizâde İbrahim Efendi: Tarzı, Şeyh’in tavrı tutunduktan sonra devam edememiştir.

11-Mustafa Dede: Şeyh Hamdullah’ın oğludur.

12-Hüsameddin Hüseyin Şah: Şeyh’in pek sevdiği talebelerindendir.

13-Şükrullah Halife: Şeyh Hamdullah’ın damadı olup, Hamdullah’tan sonra üstatların üstâdı olmuştur.

14-Pîr Mehmet: Şükrullah’ın oğludur.

15-Kırımlı Abdullah Efendi: Pîr Mehmet ve Mustafa Dede’nin talebesidir.

16-Abdülkerim Halife

17-Belgratlı Feyzullah Efendi

18-Üsküdârlı Hasan Çelebî: Karahisarî’nin mânevî evlâdıdır.

19-Erzurumlu Halid: Hasan Çelebî’nin talebesidir.

20-İmam Mehmet

21-Derviş Ali: İmam Mehmet ve Erzurumlu Halid’den icâzet almıştır.

22-Nefeszâde İsmail Efendi.

23-Suyolcuzâde Eyyubî Mustafa: Derviş Ali’nin talebesidir

24- Hafız Osman Efendi (Hafız Osman bin Ali-1642-1700 m.,?-1112 h.): Hafız Osman, zamanın üstâdı Derviş Ali’den ders almıştır. Daha sonra Derviş Ali’nin emriyle bir müddet Suyolcuzâde Eyyubî Mustafa’dan ders almıştır.Talimini tamamladıktan sonra Nefeszâde İsmail Efendi’ye de devam ederek Şeyh Hamdullah’ın yazılarındaki bütün incelikleri tamamen öğrenmiştir. Böylece yazılarında bilhassa sülüs ve nesihte Şeyh Hamdullah’tan sonra en büyük şahsiyet olarak kabul edilmiştir.O sıralarda başka tavırlarla yazan hattatlar bile Hafız Osman Efendi’ye devam etmişler, daha önce takip ettikleri kaideyi terk ile onun zarif ve parlak üslubu yoluna girmişlerdir. Pek çok talebe yetiştirmiştir. Hafız Osman hattıyla“ yazılan Kur’an-ı Kerim’ler iki bin ikinci yıla girdiğimiz şu günlerde bile memleketimizde büyük bir revaçla tercih edilmektedir. Hatta evlerimizdeki Kur’an-ı kerim'lerin çoğunun Hafız Osman hattıyla yazıldığını rahatlıkla söyleyebiliriz. Meşhur „waw çekme „ hikâyesi de Hafız Osman’a atfedilir.

25-Hezarfen Mehmet Efendi: Hafız Osman’ın talebelerindendir.

26-Süleyman Nahifî Efendi: Hz.Mevlânâ’nın Mesnevîsini aynı vezinde nazmen tercümede muvaffak olan şair Süleyman Nahifî Efendi de yazıda Hafız Osman Efendi’den kemale ermiştir.

27-Sultan lll.Ahmet: Hafız Osman’ın talebelerindendir.

28-Sultan ll.Mustafa:Hafız Osman’ın talebelerindendir.

29-Çinicizâde Abdurrahman Efendi:Hafız Osman Efendi’nin kalemlerini açmak hizmetiyle haklı iftihara kavuşanlardandır.

30-Cezzar Abdullah Efendi: İmam Mehmet Efendi’nin çömezidir.

31-Ramazan Efendi: Cezzar Abdullah Efendi’den icazet alan Ramazan Efendi, dört yüz Mushaf-ı Şerif yazmıştır.

32-Hafız Halil: Ramazan Efendi’nin halefidir.

33-Hafız Ahmet: Hafız Halil’in halefidir.

34-Yedikuleli Seyyid Abdullah Efendi: Hafız Osman’ın 1112 h.,1700 m.Yılında vefatından sonra Yedikuleli Seyyid Abdullah Efendi “üstat-ı ekber” sayılır.Sultan lll.Ahmet, Yedikuleli’yi daima manevî iltifatlarıyla ve bol ihsanlarıyla taltif eder. Padişaha teşekkürlerini sunmak için yazdığı Kur’an-ı Kerim çok nefistir. (“Bu kıymetli eser hâlen İstanbul Üniversitesi Kütüphanesinde kıymetli yazmalar içinde saklıdır.” Prof. Dr.Süheyl Ünver, Türk Yazı Çeşitleri, 1953, İstanbul,s.8)

35 Ef-Eğrikapılı Râsim Efendi: Yedikuleli’nin en güzide talebelerindendir. Çok talebe yetiştirmiş, çok sayıda Kur’an-ı Kerimler,en’amlar,murakaa ve kıt’alar yazmıştır.

36-Hıfzı: Râsim Efendi’nin talebesidir.

37-Seyyid Abdulhalim: Yedikuleli Seyyid Abdullah Efendi’nin oğlu ve meşhur talebesidir.

38-Seyyid Mehmet: Seyyid Abdullah Efendi’den mezun Seyyid Mehmet Efendi beş yüz Kur’an-ı Kerim yazmıştır. Bu sahada rekor Seyyid Mehmet Efendi’de..

39-Hafız Salih: Çemşîr “Şimşir”Hafız diye anılır.Üç yüzden fazla Kur’an-ı Kerim yazmıştır.

40-Şekerzâde Mehmet: Nesihte üzerine yetişen gelmemiş olarak bilinir. Şimşir Hafız ve Şekerzâde’nin yazıları karşısında hayranlıklar gizlenemez.

41-Süleyman Ah-enîn Kalem

42-Ömer: Sarayda yazı muallimi ve sikkelerin ressamıdır.

43-İmam Derviş Ali

44-Hüseyin Hablî

45-İpci

46-Yahya Fahrettin

47-Yamak Salih

48-Kütahyalı Şeyhzâde Mustafa (Mustafa el-Kutahî)

49-Afif damadı Osman

50-Ebubekir Raşit

51-Trabzonlu Ömer Vasfî

52-İsmail Zühdî: Hıfzî Efendi’nin talebesidir. “Râkım geçilmez” sözüne mazhar meşhur hattat
Mustafa Râkım Efendi’nin ağabeyi ve hocasıdır .Kabr-ı şerifi Edirnekapı haricindedir. Nesih yazı en son âhengine Şeyh Hamdullah ve Hafız Osman’dan sonra İsmail Zühdî’de kavuşmuştur. Sülüs yazıda da Şeyh’in ve Hafız Osman’ın en güzel harf ve kelimelerini alarak aynen, fakat kendi üslûb kanunlarıyla taklit ederek sıralamıştır. Bundan dolayı yazılarına “Şeyh’indir!” dendiği bile olmuştur.

53- Mustafa Rakım Efendi (1757-1828): İsmail Zühdî Efendi’nin en büyük talebesi ve küçük kardeşidir. Bir anlamda en büyük eseridir diyebiliriz. Çünkü Râkım’ın ressamlık yönü bir tarafa; sülüs, nesih, ta’lik ve bilhassa celîde muazzam bir üstaddır.Hiç kimse bu zat kadar lâtif ve bediî tarzda yazmaya muktedir olmamıştır. Onun muazzam eserleri karşısında hayrette kalmamak mümkün değildir. Tuğraları eski şekilden ıslâh ederek en iyisini tasavvur edilmeyecek derecede nefis ve yeni bir tarzda yazmaya kendisinden başka kimse muvaffak olamadı. Tuğrayı herkesin kendi dar zevkine göre uydurmasına mani olmuş ve onu takip edenler yolunda yürümekten başka çare bulamamışlardır.Yazı hiçbir hattatın elinde Râkım’daki kadar teşahhus edememiştir.

54-Mehmet Esad Yesarî (1753-1798)

55-Mahmud Celaleddin (?-1849)

56-Esma İbret Hanım (?-1780)

57-Fatma Şerife Hanım.

58-Kazasker Mustafa İzzet Efendi (1770-1849)

59-Mehmet Hulusî Efendi (1869-1940)

60-Seyyid Mehmet Şevkî Efendi: (1829-1887Dayısı hattat Hulusî Efendiden sülüs ve nesihi meşk etmiş ve asla üstadını bırakmamıştır. Kütüphaneye „Hafız Osman murakka’aları“ denen yazılarını görmek için devamlı gider , yazıları çok mütalaa ederdi. Ayrıca İsmail Zühdî Efendinin yazılarını elde eder ve ruhundan ruhuna feyiz almak için haftanın muayyen günlerinde Edirnekapı haricindeki kabrini ziyaret ederek kendini öyle yetiştirmiştir ki bilhassa sülüste ve nesihte zirveye yetişenlerden olmuştur.

Şevkî Efendi’nin hat şeceresi şöyledir:

a) Mehmet Hulusî (Dayısı)
b) Mahmud Racî
c) Ömer Vasfî
d) Yamak Salih
e) Hüseyin Haplî
f) Derviş Ali (Sanî)
g) Hafız Osman
h) Nefeszâde İsmail
i) Derviş Ali (Evvel)
j) Halid bin İsmail Erzurumî
k) Hasan’ul-Üsküdârî
l) Pîr Mehmet Dede
m) Damad Şükrullah Halife
n) Şeyh Hamidullah

61-Samî Efendi (1838-1912)

62-Bakkal Arif Efendi (1830-1909)

63-Râkım Bey (1874-1949): Bakkal Arif Bey’in talebesidir.

64-Paşazâde Ali Haydar Bey

65-Hoca Sa’deddin Efendi: Osmanlı Şeyh’ul-İslâmı.

66-Yahya Efendi. Osmanlı Şeyh’ul-İslâmı.

67-Feyzullah Efendi: Osmanlı Şeyh’ul-İslâmı.

68-Veliyuddin Efendi: Osmanlı Şeyh’ul-İslâmı.

69-Çelebizâde Asım Efendi: Osmanlı Şeyh’ul-İslâmı.

70-Hekimoğlu Ali Paşa: Osmanlı Sadrazamı.

71-Koca Râgıp Paşa: Osmanlı Sadrazamı.

72-Ağakapılı İsmail Efendi: Hafız Osman Efendi’nin benzeri olmayan müstesna bir zat olduğunu devamlı vurgulardı.

73-Yâkut bin Hilâl

74-Esad Yesârî

75-Yesarîzâde: Esad Yesârî’nin oğludur.

76-Mehmet Tahir (?-1845)

77-Hacı Kâmil Akdik (1861-1941): ”Reis’ul-hattatîn” lâkabına hakkıyla kavuşanlardan.

78-Hacı Nuri Korman (1868-1951)

79-Aziz Efendi (1871-1934)

80-Hasan Rıza Efendi (1849-1920) Halim Özyazıcı’nın hocası.

81-Mustafa Halim Özyazıcı (1898-1964)

82-İsmail Hakkı Altunbezer (1873-1946)

83-Beşiktaşlı Hacı Nuri Efendi (1868-1951)

84-Filibeli Hacı Arif Efendi

85-Ömer Vasfî Efendi (1880-1928)-Mahmud Yazır’ın hocası.

86-Elmalılı Hamdi Yazır (1878-1942)-Sami Efendi’nin talebesi.

87-Mahmud Yazır (1895-1952)

88-Neyzen Haci Muhammed Emin Yazıcı Efendi (1898-1964): Ömer Vasfî Efendi’ nin kardeşidir.

89-Nazif Efendi

90-Necmeddin Okyay (1883-1967)

91-Hafız Kemal Batogay (1891-1981)

92-Mahir İz

93-Prof. Dr.Nihat Çetin

94-Tuğrakeş Hakkı Bey

95-Yahya Hilmî Efendi

96-Şefik Bey

97-Çırçırlı Ali (Haydar) Efendi: Şefik Bey’in talebesidir.

98-Hakkı Efendi (Hakkı Bey): Samî Efendi’nin talebelerindendir.

99-Faik Bey, Ferit Bey

100-Hâmit Aytaç (1891-1982)


Text and Photograph ©http://www.turkhattat.com

Hattat Doğan ÇİLİNGİR * 1941

Calligraphy in sulus istif script.


















Photograph © Dogan Cilingir. http://www.turkhattat.com/index.htm

Monday, March 26, 2007

Ahmed Karahisari (1468 Afyonkarahisar - 1556, İstanbul)

Photograph © HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Sheikh Hamdullah Efendi (1436 - 1520)


Photograph © HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Hattat Ibrahim Arif (? - 1767)

Photograph © Gallery of Portakal Sanat ve Kültür Evi, Istanbul

Hattat Mehmed Sefik (1819-1879)

ZERENDUD TEKKE LEVHA. Ketebeli. Sultan II. Mahmud’un kizi Adile Sultan’a özel yazilmis. Kahverengi zemin üzerine celî sülüs hatla göbek kisminda “Allah, Muhammed, Ebubekir, Ömer, Osman, Ali Hasan Hüseyin Fatma” etrafinda 12 imamin ve tarikat büyüklerinin isimleri yazili. Alt kisminda ise “Tariki Naksibendiye ricalinden Mehmed Can Hazretleri’nin hulefasindan katbol arifin merhum Seyh Ali Efendi’nin müridesi Adile binti Sultan Mahmud” yazili. 60 x 57 cm.

Photograph © Gallery of Portakal Sanat ve Kültür Evi, Istanbul

Hattat Hafiz Osman Efendi (1642-1698)

Calligraphic Writing in Sulus and Nesih scripts

Photograph © HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Istanbul Naval Museum

The Istanbul Naval Museum is the most comprehensive museum of its kind in Turkey. With its extraordinarily rich and varied collection, numbering some 20,000 pieces, it is among the major museums of the world. The Naval Museum operates under the Commander of the Navy and was the first military museum founded in Turkey.

Initial situation of the museumWith orders of the Naval Commander-in-Chief Bozcaadalı Hasan Hüsnü Pasha and the support of the Commander of the Imperial Naval Arsenal Admiral Arif Hikmet Pasha, the Naval Museum was founded in 1897 by Commander Süleyman NUTKİ in the Imperial Naval Arsenal (now Taşkızak Shipyard in Hasköy, İstanbul), as the Museum and Library Administration Office.

Ali Sami BOYARAt first the museum opened its doors mainly as a repository of unclassified objects. However, in 1914 the Minister of the Navy Cemal Pasha, as he had realized with all other aspects of the Navy, renovated both the museum and its administration when he appointed Lieutenant Ali Sami BOYAR Director. A maritime artist, BOYAR subsequently reorganized the museum collections scientifically, established a ship-model workshop for building models and half-models of Turkish ships, and a workshop to manufacture human figures for museum displays, all integral steps in the development of the museum to its present status.

At the beginning of World War II, the collections were moved to Anatolia for safekeeping. After the war, the museum collections were returned to İstanbul in 1946, this time to a more suitable building complex of the Dolmabahçe Mosque. Following two years of preparation by the Museum Director Haluk ŞEHSUVAROĞLU, the new museum was opened to the public on 27 September 1948.

Complex of the Dolmabahçe Mosque with the widening of Dolmabahçe Avenue, it was necessary to relocate the museum once again. It was moved a short distance in 1961 to its current location in Beşiktaş, next to the tomb and monument of Barbaros Hayrettin Pasha (Barbarossa).

Address
Hayrettin İskelesi Sok.80690 Beşiktaş/İstanbul - Türkiye
Phone +90 212 327 43 45
Fax +90 212 236 68 93
E-mail
NavalMuseumTurk@Superonline.com


Photograph © Turkish Naval Museum Istanbul. http://www.dzkk.tsk.mil.tr/muze/English/Ana_Sayfa.htm

“Armorial from the Reign of Sultan Abdülhamit (1876-1909)”
Armorial bearing the "El Ghazi" monogram of Sultan Abdülhamit carved in relief on a raised, red-brown oval surface. The monogram is encircled by a gilt carved-rope design tied into a bow knot at the top.Dimensions : 92x83 cm
“Chart of the Persian Gulf to Baghdad”Printed in color by the Naval Academy in 1865. Drawn by the schoolmaster Ali Bey of the War Academy, the chart includes the monogram of Sultan Abdülaziz (1861-1876) and is made to an Ottoman scale. Dimensions: 55 x 134 cm.

Military and Maritime Museum in Istanbul

This is one of the leading museums of its kind in the world. The military museum and culture center was reopened at its present building in 1993 with a very successful and contemporary exhibition concept. The former military academy, where Mustafa Kemal Ataturk was also a student, was renovated and various additions were made. Today in 22 rooms about nine thousand pieces are exhibited, out of a total collection of fifty thousand objects.

On the ground floor, the display of bows and arrows in the first room is followed by sections containing the weapons and other regalia of the cavalry, daggers and lancets, and sections devoted to Selim I, Mehmet the Conqueror, the conquest of Istanbul, weaponry from the early Islamic, Iranian, Caucasian, European . and Turkish periods. This floor also houses a unique collection of helmets and armor, as well as the sections allocated to firearms and tents. On the upper floor there are rooms where objects from World War I, the Battle of Gallipoli, and the War of Independence, and uniforms from more recent times are displayed. There is also an Ataturk room. The Janissary Band gives concerts in the museum.

Adres: Askeri Müze ve Kültür Sitesi Komutanlığı Harbiye- Şişli / İSTANBUL
Tel : 0 212 2332720

Fax: 0 212 2968618
http://www.tsk.mil.tr/askerimuze/askeri_muze.htm


Photograph © Dick Osseman. http://www.pbase.com/dosseman

THE LIBRARY OF THE NETHERLANDS HISTORICAL ARCHAEOLOGICAL INSTITUTE

The library of the Netherlands Historical and Archaeological Institute was founded in 1958 and has ever since provided information and services to Turkish and foreign scientiests, and also to students of history and archaeology. Its collections have been continuously augmented and presently comprise over 15,000 volumes, which are placed in areas which are directly accesible to the public.

The library consists of a number of sections. The main section contains publications on the archaeology of Turkey, the Balkans and the Middle East, with an emphasis on the earlier, pre-classical periods. The most important excavation reports, specialist studies and archaeological journals for this field of study can be foun in this section of the library which forms a unique collection in itself in İstanbul. The second section comprises books on the history of the Ottoman period, moreover general publications and journals on Islam and the Middle East. Apart from these, the second section has a growing number of publications in Turkish and other languages about the Selçuk Period. A third section comprises a large number of publications on Hititology and concerning the art and architecture of Europe between the 16th and 20 th centuries. The fifth section comprises books on the more recent history of Europe in general and the Netherlands more specifically.

Each year new publications on the above mentioned fields are acquired and lists with recent acquisitions are available free of charge. Most publications are in English, but there are also books published in a.i. Turkish, German and French Though the books can not be borrowed, photocopies can be made against a small payment.

LIBRARY OF THE GERMAN ARCHEOLOGICAL INSTITUTE

The Institute is founded in 1930, the institute has a scientific librray which is continually increasing its resources.

Books on general subjects are available but the library specialises in the subjects like; Archeology, Byzantine, Ottoman, Travelogues, Modern Turkey, City Planning, Caucasia, Central Asia and Economics.

The library has 300 reader capacity and contains 18,000 books and 525 magazines (150 subcriptions)

THE LIBRARY OF THE ITALIAN CULTURAL CENTER

This library was founded in 1951 and continues uninterrupted to this day.

The librray contains 11,025 books, 640 video tapes, more than 5000 slides and a rich collection of magazines. Most resources are in Italian but there are also others in French, English and Turkish. Italian history, art and archeology are represented, containing a great resource for researchers.

The collection includes cinema, children's and world classics, jurisprudence, economics, politics, theatre, child development and about 100 further subjects. The collection is now being computerized.

THE AMERICAN INFORMATION AND RESOURCE CENTER ISTANBUL

The American Information and Resource Center is part of the United States Information Service (USIS) in İstanbul. The center provides research and document support to journalists, government officials, non-governmental and ciivl organisations, academics and the business community, on political, cultural, social and economic issues involving the United States of America.

This fully-automated resource center operates with 4,500 reference books, various CD-ROM databases, on-line services, and government documents.

ATATÜRK MUNICIPAL LIBRARY

This library was originally known as the Revolutionary Museum and Library (Inkilap Müzesi and Kütüphanesi) and established in the medrese of the Bayezid Mosque Complex in 1931. In 1945 it was called the İstanbul Municipal Library (İstanbul Belediye Kütüphanesi). In 1981 the entire library was moved to its present location in Taksim and renamed the Atatürk Library.

This library contains nearly 200,000 volumes: 24,803 in modern Turkish, 11,903 in Ottoman Turkish, 3,614 manuscripts in Ottoman Turkish, Arabic, and Persian. 14,547 periodicals, 552 annuals (salnames), 320 calendars, 272 maps, and 13 Qurans. There is also a collection of maps, folios of prints, calendars, and postcards in Ottoman Turkish. Exhibitions and conferences are regularly held in the library.

THE ARCHIVE OF ŞERİYE SİCİLLERİ (JUDICAL RECORDS)

These records consist of decrees and pronouncements made by kadıs, or Muslim judges. These records of 27 İstanbul courts are housed in the archives of the office of the Müfti of Süleymaniye. There are a total of 9,883 records spanning the years from 1483 to 1924.

Süleymaniye Library Istanbul

The building which houses the library of the Süleymaniye Complex was built in 1751 by Köse Mustafa Bahir Paşa. The Süleymaniye Library was founded as a modern librray in 1916. Not only is it the most comprehensive library of manuscripts, it also contains the largest collection of Islamic manuscripts in the world. The library houses 130,325 works, including 67,152 manuscripts in Ottoman Turkish,

Arabic and Persian, 48,924 printed materials in Ottoman Turkish, 11,914 volumes in modern Turkish, 997 in English, 609 in French, 438 in German and 316 in other languages. It is the first librray in Turkey to provide microfilm and photocopying services, which were begun in 1950, and also provides computer search services.

Postal adress:
Süleymaniye Yazma Eser Kütüphanesi Müdürlüğü
Ayşe Kadın Hamamı Sokak No. 35
34116 –Eminönü-İstanbul/Turkey
Tel: + 90 (0) 212 520 64 60
Fax: + 90 (0) 212 511 22 10
e-mail : suleymaniye@kultur.gov.tr
http://www.suleymaniye.gov.tr/index.html

Location Map

NURUOSMANİYE LIBRARY

Part of the complex of the Nuruosmaniye Mosque in Cağaloğlu, this manuscript library constructed in the Baroque style was opened in 1755. It contains collections belonging to Sultan Mahmud I (1730-54) and Sultan Osman III (1754-57). Of its 7600 volumes, 5052 are manuscripts (919 Ottoman Turkish, 3667 Arabic, 466 Persian). It is subordinate to the Süleymaniye Library.

LIBRARY OF TOPKAPI PALACE MUSEUM in Istanbul

Founded in 1928, the manuscript library houses a rich collection of 13,450 manuscripts in Ottoman Turkish, Arabic and Persian. There is also a significant collection of miniatures and calligraphic works held in this library. The library provides photocoying and microfilm services. Special permission is needed for Turkish and foreign researchers.

İSTANBUL ARCHEOLOGICAL MUSEUMS LIBRARY

The turn-of-the-century library was established as part of the Archaeology Museum in 1903 as an archaeological librray containing works on museums, archaeology, history and fine arts. Housed on the top floor of the Arcaeology Museum, the library's overall collection contains a total of 80,000 volumes, 2,000 of which are manuscripts.

KÖPRÜLÜ LIBRARY in Istanbul

The Köprülü Library was the first independent library to be established in the Ottoman period. This librray was built in 1662 by Köprülü Fazıl Ahmed Paşa as an addition to the mosque comples originally built by Köprülü Mehmed Paşa in Çemberlitaş. The original collection which consists of works donated by the Köprülü family has remained relatively stable with around 2775 manuscripts and 1508 printed books. This primarily manuscript librray is subordinated to the Süleymaniye Library. A published three-volume catalogue describing this collection is available.

İSTANBUL UNIVERSITY CENTRAL LIBRARY

Established in 1924 as "İstanbul Darülfunun Merkez Kütüphanesi", this library was the first university library in Turkey. The Yıldız Palace Library collection was added to this librray in 1925. It has since been further enriched with donations ans purchases, and has become a major academic research center. Pursuant to the Depository Law on Printed Materials (1934), on of each of the five copies of all written and printed works published in Turkey and collected by the government is submitted to the librray.
The library holds over 400,000 volumes of printed books, as well as 30,000 theses and 15,421 perodicals, and sits 800 people. The library has been in its present building near the Beyazıt Square since 1981; its former building now houses the Museum and Rare Books section of this library which contains a total of 18,606 manuscripts (9,943 in Turkish, 6,967 in Arabic, and 1,615 in Persian, 81 in other languages).

İSTANBUL PUBLIC LIBRARY

This library was established in the district of Fatih in the Feyzullah Efendi Medrese in 1911 by Ali Emiri Efendi. Its original collection consists of over 16,000 volumes from Ali Emiri's private colection of rare works. It presently holds 70,000 volumes, 9,000 which are manuscripts in Ottoman Turkish, Arabic and Persian. Among the important items contained in the library, are the calligraphic panels made by Sultan Mahmud III (1808-39) which hang on the walls of the museum section, as well as early periodicals and Arabic newspapers. In 1993 the library became classified as a research library and adopted the Dewey Decimal Classification System.

IRCICA LIBRARY in Istanbul

Foundde in 1980, the library is affiliated with the Organization ıf Islamic Conference. The library functions as a reference library for IRCICA, the Research Center for Islamic History, Art and Culture, an organisation which undertakes various activities concerned with the heritage of the Islamic world, including resarch, publishing, and informational services. Located in the historical building of the Seyir Köşk (Pavilion)in the Yıldız Palace, the library holds a collection of works primarily concerned with Islamic history culture, and society. Its collection consists of 400,000 printed books, as well as manuscripts, unpublished doctoral theses, atlases, maps, and periodicals.

BAŞBAKANLIK OTTOMAN ARCHIVES in Istanbul

As an imperial centralised state, the bureaucracy of the Ottoman Empire produced a vast amount of state documents, most of which are now located in the Ottoman Archives. The first state documents was moved to the Imperial Treasury and the Inner Court of the Topkapı Palace. It was not until 1845 that any attempt was made to establish what we consider in the modern sense s state archive, when he cataloguing of these documents was begun;

The Hazine-i Evrak, "treasury of papers" was set up to organise and catalogue these state documents, and a separate building was built to house them. During the Republican period, the Hazine-i Evrak, the Ottoman Archives, was put under the administration of the Prime Minister's office under the direct supervision of the director of the General State Archives. The process of cataloguing this immense collection of state documents continues today by a large number of professionally trained staff of experts. The catalogued documents are accessible to modern scholars, foreign and domestic.

ATIF EFENDİ LIBRARY in Istanbul

The Atıf Efendi was the second independent library, after the Köprülü Library, to have been in the Ottoman period. Built by Atıf Mustafa Efendi in 1741 in the district of Vefa, this manuscript library is one of the best examples of 18th century Turkish Baroque architecture. Its collection consists of over 29,900 volumes, including 358 printed books in Ottoman Turkish and 3228 manuscripts (336 in Ottoman Turkish, 2,406 in Arabic and 84 in Persian). The library is subordinate to the Süleymaniye Library.

Mustafa Râkim and Features of Spectacular Writing Style with Celî Sülüs School

Introduction

Spectavular writing style having meaning of "obvious, big, large " in dictionary is a name given to Large from of writing style in calligraphy art written by a thicken pencil than calligraphic model writing pencil. For example,sülüs writing is normally written by 2,5 mm pencil, when this subgect measure is exceeded then, writing becomes celî.And when pencil thickness reaches to three times, now writing to becomes spectacular, large writing style . Writing written by measure between Large Letters and spectacular writing is given name of Arabic script style . In addition spectacular, obvious word expresses character not a style of writing.1

Although there is no difference between structures of. Large Letters and spectacular writing style Letters have more mature structure. Since Letters become largger, then structures and details become very well distinct and mature. By referring to this point, great calligrapher of spectacular writing style , Sâmi Efendi (1838- 1912) said that "As lang . as spectacular writing is not written then, secrets of calligraphy can not be" understood. 2 Thinness- thickness in spectacular writing style with Large Letters as well as distance space between Letters are adjusted in accordance with distance and location. For this reason, spectacular writing style with Large Letters requires great skill and ability.3

Birth and Development of Spectacular writing style with Celî Sülüs

During first years of Islam religion two different writing styles with corners with which Quran,epitaph and important documents had been written and written and writing style with round (circular, spherical) character where soft and curved lines dominate used in daily affairs and works.4

Form of writing with round character written by thick pencil (pen) in which writing had found essential development path is known by name of spectacular writing style by pencil. In actual fact ,this name had been given to writing style written by thick pencil in both characters during that period5. Name of great, illustrious has been converted into name of large in the Ottoman Calligraphy Art- School, however, there is no relationship between spectacular, illustrious writing at the beginning . And the Ottoman Spectacular writing style with Large Letters.6

In writing with soft and round character in which Calligraphy art has shown real development, the most distinct and obvious development had ocurred during Omayyad (661-750) period. 7 Kutbetül- Muharrir who had lived during end of Omayyads and first years of Abbasids, had invented "turmar" writing style with Large Letters of which pencil tip width is not known in specific.

İbn Mukle who lived during first period of Abbasids (750-1258) and was minister (vizier) and at the same time. Calligrapher, had bound letter time. To certain specific measures. 9 İbnü´l- Bevvab( d. 413/1022), who came one century after İbn Mukle and representing second stage of his school , had improved writing of İbn Mukle and made it more beautiful and attractive . 10 Although we do not have any specimen of spectacular writing style with Large Letters of İbnü- l- Bevvab, Ebu-l- Mecd Cemaleddin Yakut b. Abdullah el- Musta´simi (d . 698/1298). Had studied and exmined writings of İbn Mukle and İbnü-l- Bevvab for long time and made writing to have gained a new attitude. The greatest renovation made by Yakut was cutting pencil tip in curved manner which had been cut in flat manner till that time . 11

Writing style with Large Letters was in a simple form both in Letter structure and arrangement of Letters of including Seljuks before the Ottomans . Writing style with Large Letters of Seljuks had continued its influence and effect till Mehmet II, the conqueror period in Ottomans, and effect related to arrangement of Letters (pilling of Letters) had continued till XIII rd century but , there were some improvements from time to time.12 Attempt was made in spectacular writing style with Large Letters to catch success as in aklam-l Sitte,and although Letters were simple at the beginning as com[aring with Letters of XIX.Century ,it is immediately noted that a search has been made for beauty comparing with Seljuks Letters of writing style with Large Letters.

First important and fine specimens of the Ottoman spectacular writing style with Large Letters are seen during period of Mehamet II, the conqueror. Yahya Sufi and his son, Ali b. Yahya Sufi are famous Calligraphers in spectacular writing style with Large Letters during period elapsed till Râklm period Fatih mosque and Imperial gate of Topkep] palace inscriptions on left door seating written by Ali Sufi 15 , are without doubt, are seen to the most beautiful specimens of spectacular writing style with Large Letters till Râklm period. 16 A perfect level had been achieved to have been caught as letter structure in these inscriptions, besides Large letter inscriptions and naskhi writing style works, Sheik Hamdullah being foundan of the Ottoman School in calligraphy, Beyazid Mosques by writing style with Large Letters (celi sülüs).17 Can be considered as specimens of development period of the Ottoman spectacular writing style with Large Letters. However, these spectacular writing style with Large Letters of Sheik, had remained very simple as per concept of spectacula writing style with Large Letters of subsequent periods . 18 Ahmed Karahisari being representative of Yâkut School after Sheik in the Ottoman Calligraphy School had been more successful than Sheik in spectacular writing style with Large Letters and had been able to insert Letters into sentence in fine manner. 19 Although there existed no sharpness and easiness gained by writing style with Large Letters later on in Letters of Karahisarl, but esthetics proportion had been substantially attained.

Influence of Seljuks spectecular writing style with Large Letters can be seen as arrangement of Letters in writing style of Hasan Celebi who has been accepted as the most strong and influencial representative of Ahmet Karahisari School and who had written inscriptions on sülymaniye Mosque (excluding dome) and Edirne Selimiye Mosque by other Spectacular Character as Style,with Large Letters . 20 Although Letters bear Ottoman Character as Style, but arrangement of letter had been influenced by Seljuks writing style,. Vertical Letters had been put side by side . Although there existed sharpness and improvement in Letters comparing with previous specimens, but simple form and bluntness in Letters still continue.

On the other hand, Hâfiz Osman who had became a sample of RÂKIN who will make great changes in Spectacular writing style with Large Letters. When writing style of Hâfiz Osman has been examined and Studied , it is seen that besides simple form of Letters , in arrangement of letter. Letters had been piled up on certain places .

Great success had been gained in Ottoman writing style pertaining to our examined periods in spectacular writing style with. Large Letters and very beautiful and successful works had been produced. During this period no particuar marks had been used or had been used in small amount. Besides Letters, structure was very simple and in appropriate manner.

His Life

He was born in 1171/1758 in Ordu/ Ünye. He came to Istanbul when he was a small child and Learned Large Letter and naskhi style writing from his older brother İsmail Zühdi (death 1221/1805) in addition to his studies in scientific. He received his certificate in 1183/1769. when he received his certificate "Râkim " name was given to him. He learned writing style from from III. Derviş Ali. In spite of all difficulties and problems . Mustafa Râkim had achieved to have realized reform and changes which will deeply effect and infulence subsequent artisans after him by forming "Scholl" in spectacular writing style with large Lettery stone inscription on çelebi Mustafa Reşid Efendi in Eyüp are his most important works Râkim Efendi who died in 1241/1826, buried in tomb across Atikalipaşa Mosque in Fatih – Karagümmrük.21

When spectacular writing style with Large Letters , have been studied and examined from viewpoing of Letters and arrangement of Letters from the beginning especially of Seljuk, principalities , Ottoman periods , besides bluntness and simplicity of Letters, it is immediately noted , that pencil did not have any writing features. Writing style had continued with these features during the Ottoman period . In spite of the fact there existed corrections in Letters to be considered important comparing wish preveious peroprtion of Letters (measure, proportion) had not been caught till Râim. Proportion of Letters beauty of arrangement of Letters, fineness of pencil movements can be clearly seen in works of Râkim belonging to especially to his maturity period. This situation which could not be seen during previous periods is the greatest feacture brought by RÂKIM to writing style with Large Letters.

We can gather changes made by Mustafa Râkim23 in spectacular writing style with Large Letters under the following headings:

1- He had improved structure of Letters.

2- He had caught ideal measure between letter thickness and pencil thickness.

3- He had achieved extraordinary success in arrangement of Letters.

Calligraphers could not achieved proper proportion as structure in writing style with Large Letters till period of Mustafa Râkim. Even Standard could not be obtained in writing of same letter. And writing could only written as thick. 31Spectacular writing style with Large Letters could not be dealt by itself till period of Mehmet II, the conqueror because it had been seen as decoration element in architecture as well. For this reason, success could not be achieved in degree of aklam –l- sitte (the six styles of writing ) in writing style with Large Letters both from viewpoints of Letter structur and arrangement of Letters.

Râfiz Osman from viewpoing of beauty of Letters.24 The following expression of the Calligrapher Sâkim in spectacular writing style with Large Letters is in nature to veritfy that judgement. "If you could enLarge Letters of Hâfiz Osman you could find spectacular writing style with Large Letters of Râkim in smaller letters, then you could find writing style of Hâfiz Osman.

By improving structure of Letters, Râkim had achieved to have caught harmony between letter thickness and pencil thickness. Râkim had applied writing style with Large Letters with success by enlargement of letters of Hâfiz Osman. 25 Mustafa Râkim had studied and examined very carefully writing style of Hâfiz Osman and had applied structure and standing beauties of Letters of that master to spectacular writing style with large letters. He had achieved domination of pencil in writing style and so the most beautiful, ideal measures of letters had been attained . For this reason, letters of spectacular writing style with Large Letters of RÂKIM have lively, active , vigorous structure as in cases of writing styles of sheik and especially Hâfiz Osman.26

Inscription of Nakşidil Tomb dated 1234/1819 being works of maturity period of Râkim especially verse written by Large Letter writing style on Nakşidil public Fountain is an evidence about how letters had become softer in his hands.

When spectacular writing style with Large Letters belonging to previous centuries is compared with letters, word groups and arrangements of RÂKIM, then , liveliness, greatness, grandeur, beauty of arrangement of letters can be better seen and observed , Râkim had created proper proportion and vigor, liveliness in letters in spectacular writing style with Large Letters which ware blunt and in appropriate proportion before him and arrangement of letters had been saved from this organization and dispersion. Another feature of letters of RÂKIM is that they are in thickness which can be seen easily from far distance letters hod gained beauty, fineness measure as per place to be written or to be hung. 27

Râkim had improved structures of lathers first of in all in writing style with Large Letters and found out harmony between letter thickness and pencil thickness . It is possible to see and observe right , beauty and inveliness ,vigor of pencil movenents in letters of Râkim writing style.

Râkim had used in the most beautiful manner letters inside arrangement of letters and distributed letters in balanced form being suitable for display.

Râkim who had constituted school by reform conducted by him in spectacular writing style with Large Letters and put forth his behavior and attitude in spectacular writing style with Large Letters after 1221/1806 which is year of death of his older brother. After subject date, Râkim´s spectacular writing style with Large Letters had entered into a fast improvement path years of 1230/1815-1234/1819 are maturity period of Râkim and he had given his most beautiful work between these dates. The data of 1234 / 1819 is the data when letter and arrangement perfectness was at peak level. Fatih Nakşidil tomb inscriptions, Eyüp, Çelebi Mustafa Reşid Efendi cemetery store inscriptions written by him during this period are the most important works of his maturity period.

Are Life of Râkim can be divided into three sections in general, namely, beginning years till 1221/1806, improvement and development period between 1221/1806-1230/1815 and maturity period after 1230/1815. As you would appreciate that this classification has been made for the purpose of forming an idea in general as a result of classification of Râkim´s works. Certainly, these dates are related to previous periods and post- periods. 28

Firsty Râkim used to write writing style with Large Letters by making squares method, but he had written directly by cane pencil and watery black ink his Nakşidil tomp band inscription with 3 cm pencil tip thickness during his last period through his gained faculty and skill. It is possible to see this at present time. In writing molds maintained in Istanbul Turkish- Islamic Works Museum .

Arrangement of letters by Râkim is in front line by structure and standing positions of letter.29 In addition there was no certain method applied at the beginning of his art life esthetic improvement of early writing style of Râkim could not be adapted to improvement of early writing style of Râkim could not be adapted to improvement made in spectacular writing style with large letters. After 1230/1815, now , letters in writing style of Râkim started to show themselves nearby their respective structures, but Râkim had observed and complied with usage of letters in their proper arrangement and places.

When evaluation is made of Râkim Efendi had achieved aspect which could in doing so. Mustafa Râkim Efendi had achieved aspect which could not be realized in spectacular writing style with Large Letters till XIX.

The century , especially, he had applied liveliness of writing style of Hâfiz Osman to spectacular writing style with large letters. Also , he was poineer of the ottoman calligraphers in arrangement of letters. He had eliminated line and form deformation in imperial ciphers of the sultans and so created esthetics. Râkim having "Art School" in spectacular writing style with large letters, had been accepted and recognized as only Master by artisans who had followed him.

FOOTNOTES


1M.Uğur DERMAN "Calligraphy" The Turkish Encyclopedia (TE), volume XIX , İstanbul, Ministry of National Education , 1971, p. 52; DERMAN, "Spectacular , Writing Style with Large Letters" İlgi , number 29 (May 1980), Year 1 p. 30 : Ali ALPARSLAN, "Islamic Writing Styles: 3 Spectacular writing style with Large Letters" Our Art World Number 33 (1985) , p. 27: M. Uğur DERMAN, "The Ottoman period in Calligraphy Art"Calligraphy Art in Islamic Culture Heritage (CAICH),Istanbul, Islam History , Art and Culture Research Center (IRCICA), 1992, page 35; Ali ALPARSLAN "Spectacular Writing Style" Religiosity Foundation Islam Encyclopedia of Turkey (DIA), Istanbul Religiosity Foundation of Turkey 1993 , Volume VII, p.265; Muhittin SERİN. Calligraphy Art and Famous Calligraphers (Calligraphy Art), Istanbul, kubbealti Publication, 1999 , p. 89; Ali ALPARSLAN, The Ottoman Calligraphy Art History, Istanbul Yapi kredi Publications, 1999, p. 105.

2DERMAN, TE,p .58 ,ALPARSLAN, The Ottoman Calligraphy Art History, p. 105-106.

3DERMAN,İlgi, p.30; M.Uğur DERMAN "Epitaph of Yeni Cami Public Fountain "Lâle,number 4(December 1986) p.17;ALPARSLAN,"Spectacular writing style with Large Letters"DİA,v.VII, P. 265.

4ÇETİN, Nihad M.- "Birth and Development of Islamic Calligraphy Art (Till the end of Yakut period)". Calligraphy Art in Islamic Culture Heritage (CAICH). Istandbul, IRCICA, 1992 ,p. 17

5Çetin, CAICH, p. 31

6Ali ALPARSLAN, "Importance of Architectural Buildings from viewpoint of Calligraphy Art " Boğaziçi (Bosphorus ) University (Humanities and Social Sciences) Magazine . Number 4-5, 1976-1977 p.3; Çetin,CAICH, p.30.

7Çentin, CAICH, p.20-21

8pencip tip width of tumar writing style is 24 horse tail in comparison with spectacular writing style with Large Letters of which pencil tip width is not specific (of common work horse). And this is equal approximately to 15 mm in measurements of present time ad minimum measure in spectacular writing style with Large Letters is this one. Writing style in one- third measure of that measure is named as "writing style of Arbic script with medium- Large Letters (see, El-Kalkasandi) Ahmed b.Ali). Subhu´l- A´şa, III, Beirut, 1987 , p. 54-61, ÇETİN, CAICH, p.22-23; A;PARSLAN, Islamic History ,p. 450-460 ; M Uğur DERMAN, "Development of Spectacular writing style with Large Letters from the Seljuks to the Ottomans" , IV.National Seljuk Culture and Civilization Seminar Circulars,25-26 April-1994 (A Separate publication). Konya Seljuk University, Seljuk Research Center ,1995 , p.9; ALRARSLAN, The Ottoman Calligraphy Art History , p. 105.

9Adolf GROHMANN, Arabische paleography (I teil), Wien ,1967, Islam el-said and Ayşe parman,Geometric Concepts in Islamic Art, London, World of Islam Festival Publishing Company Ltd 1976,p. 16;Islam el-said and Ayşe parman, Geometric Concepts in Islamic Art,Londo , World of Islan Festival Publishing Company Ltd 1976,p. 131; Ali ALPARSLAN "Servuce of İbn Mukle to Islamic Inscription ", Paleography and Diplomatic Seminer Throughout Tistors,30- April 12- May –1986 Circulars, Istanbul, Istanbul University . Faculty of Art , 1986,p.11; ÇETİN, CAICH, p.24; ALPARSL, Islamic History,p. 463; Abdülkerim ÖZAYKIN, "İbn Mukle", DIA, v. xx, p. 212;M.Uğur DERMAN "Calligraphy Art in the Ottoman Turks" The Ottoman Encyclopedia, Volume XI , Ankara Yeni Turkiye Publications, 1999 , p. 19; Muhittin SERİN, "The Ottoman, p. 27.

10 Mustakimzade Süleyman Sa´deddin. Tuhfe-i Hattatin, Istanbul , Turkish History Council Works , 1928 , p. 331-332; Habib . Calligraphy and Calligrapers, Istanbul, 1305 p. 44 ( There exists "kaside-i raiyye İbn Bevvab maa Şerh "poem written by İbn Bevvab between pages 45-48 about calligraphy and pencil (pen) ; A. Süheyl ÜNBER, life of Calligrapher Ali BİN HİLAL, Istanbul, Yeni Laboratuvar publications, 1958, p. 5; Muhitti SERİN "İbnü´- Bevvab"DIA ,v. XX , p. 534-535.

11Nefeszde, p. 41-43; Suyolcuzade , p. 8; Mustakimzade, p. 575-576; Habib p. 51-54; Selahaddin el-MÜNECCİD, Uakut el-Mustta´simi, Beirut, Daru´l- Kutubi´l- Cedid ,1985, p. 17; Nihad M. ÇETİN, " Yakut Musta´simi" Islamic Eccyclopedia (İA) volume XIII , Istanbul , The Ministry of National Education , 1986, p. 352-357; ÇETİN, CAICH, p. 27; ALPARSLAN, Islamic History, p. 464.

12 Ali ALPARSLAN , "Islamic Writing Styles: 3 Celî Sülüs " Our Art World , number 33, 1985 , p. 29; ALPARSLAN , The Ottoman Calligraphy Art History , p. 107.

13 Ekrem Hakki AYBERDİ. Calligraphers of Mehmet II, the canqueror period . Istanbul , Istanbul Istanbul Conquest Association 1953 , p. 19; ERBAS, Aynur. Inscriptions and Spectacular Writing style with Large Letters of Istanbul Mosques reached from Mehmet II the Conqueror and II nb Bayazid period till our present time. Istanbul , Marmara University Social Sciences Institution, Unpublished Master Degree Thesis, 1990 . p. 98.

14 The Quran. Hicr, 45-48.

15 The Quran. Saff, 13

16 ALPARSIAN, Humanity and Social Sciences , 7 (In respect with inscriptions (epitaphs ) and their reading , see , Abdurrahman ŞEREF "Topkai plaace Imperial "Istanbul, Fetih Cemiyeti publication, Istanbul, 1953 , p. 143, 146, 150, 303,310,315; SERİN,Calligraphy Art , History , p.33-34 )

17In respect with inscriptions and their respective readings, see, Muhittin SERİN, Inscriptions (epitaphs) of Istanbul Mosques from Mehmet II, the Conqueror and II nd Beyazid periods till our present time p.40-45, 46-48,73-77.

18M.Uğur DERMAN "Şeyh Hamdullah Being One of Our Calligraphy Genius"Hayat (Life Magazine), number 47, 1965 ,p.23; DERMAN, CAICH,p. 191; ALPARSLAN. Humanity and Social Sciences , p. 7; ALPARSLAN, The Ottoman Calligraphy Art History , p. 41.

19M. Uğur DERMAN, Turks in Islamic Art , Ankara, Yapi Kredi Bank Publications, 1974 , p. 54; ALPARSLAN, Famous Turkish Calligraphy , p.54;DERMAN , Our Writing Art During Süleman, The Magnificent , period , p. 273; SERİN, Our Calligraphy Art , p. 109-113.

20For more detailed information , regarding to life of Mustafa Râkim Efendi, see , Şânizâde Mehmed Ataullah, Şanizade History I-Ceride-i Havadis printing House, 1973,p. 213-214, Ahmed Lütfi- History of Lütfi (I) Istanbul Amir printing House 1292,p. 189-190. Mehmed Süreyya, The Ottoman registration (II). Istanbul 1308, p. 365 Ahmed Cevdet, History of Cevdet (XII), Istanbul, 1309,p. 141; A. Süheyl ÜNVER "The Calligrapher Mustafa Râkim Efendi, Istanbul, 50 Art poets Series –3 1953, p. 2; Haluk Y. ŞEHSUBAROĞLU, "Calligrapher Mustafa Râkim" Cumhuriyet Newspaper , 12-09.1955 and sebilülmin Volume IX , number 204 (1955) p.58-59; İbmülemin Mahmud Kemal İNAL, The last Calligraphers. Istanbul, The Ministry of National Education , 1970 p. 273-289; M. Uğur DERMAN, Calligraphy art in Islamic Culrure Heritage ( CAICH), Istanbul, IRCICA, 1992, `P. 204, Ali ALPARSLAN, The Ottoman Calligraphy Art History , p. 79 , 117-121; Muhittin SERİN, Calligraphy Art and Famous Calligraphers. Istanbul, Kubbealti publication, 1999 , p. 133-138; Süleyman BERK, Calligrapher Mustafa Râkm`s Esthetic To Celî Sülüs, Erzurum, Atatürk University Social Sciences Institution (Unpublished Doctorate Thesis), p. 9-58)

21In respect structure characteristics of Râkim Letters, see BERK, Calligrapher Mustafa Râkim´s Esthetic To Celî Sülüs, p. 79-82.

22Derman , CAICH, p. 34; M.Uğur DERMAN , Turkish Art from the Beginning Till present Tire, Ankara, Türkiye Iş Bankasi Cultural publications , 1993 ,p. 385.

23İsmayil Hakki BALTACIOĞLU, Calligraphy Art in Turks, Mersin , The Ministry of Culture, 1993, p. 45; DERMAN, Turkish Art from the Beginning Till Present Time , p. 385.

24BALTACIOĞLU, Calligraphy Art in Turks, p. 46, DERMAN , CAICH,p.35 Ali ALPARSLAN, Famous Turkish Calligraphers, Ankara, the Ministry of Culture , 1992, s . 90 ; ALPARSLAN, "Islamic Writing Art". Great Islam History from Birth till our present time. Volume XIV. Istanbul, Çağ publications 1993, p. 441-522 491-491; ALPARSLAN, The Ottoman Calligraphy Art History, p . 118

25DERMAN, CAICH, p. 35, ALPARSLAN, Islamic History, p. 491-492.

26İ. Hakki BALTACIOĞLU, Turkish plastics Arts. Ankara, The Ministry of Notional Education 1971, p. 117.

27Ahmed Süreyya, "Sanayi- i Nefise in Ottomans , Ezcümle Hutut- I bedia",Sirat-i Mustakim, number 174 (14Muharren 1329) p. 282; Ahmet Süreyya (Saltuk) son of the calligrapher , Hasan RIZA Efendi has expressed characteristics of spectacular, cursive writing style of RÂKIM in four articles in this article written by hem. These are briefly , plumpness of Letters , movement of Letters and mutual proportion of Letters and harmony of arrangement of Letters.

28 In respect with collective evaluation of determined works of Râkim , see, BERK, Calligrapher Mustafa Răkim´s Esthetic To Celî Sülüs.

29 BALTACIOĞLU, Calligraphy Art in Turks , p. 52-53.


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