Abdulvehhap Zihni Efendi

Abdulvehhap Zihni, dated A.H.1264 (C.E.1847) Mevlawi crown, 23x17.5 cm.

Photograph © Macka Mezat, Istanbul

JOC provides access to these materials for educational and research purposes and makes no warranty with regard to their use for other purposes.The written permission of the copyright owners and/or holders of other rights (such as publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemption.

Yahya Sufi [b.? -d.1477]

Tile panel by Yahya Sufi of celi sülüs kufi script, Fatih Cami (Mosque) Istanbul.

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

JOC provides access to these materials for educational and research purposes and makes no warranty with regard to their use for other purposes.The written permission of the copyright owners and/or holders of other rights (such as publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemption.

Ali Raif Efendi

Dimensions of Sheet: 28 (w) x 21 (h) cm

Script: thuluth and naskh

This ijazah, or diploma of competency in Arabic calligraphy, was written by 'Ali Ra'if Efendi in 1206/1791. The top and middle panels contain a Saying (Hadith) attributed to the Prophet Muhammad. It reads:

Secret charity quenches the wrath of the Lord. / The best of you is the best for his family. / The best of the followers is Uways.

In the two lowermost panels appear the signed approvals of two master calligraphers, Mustafa al-Halimi and Husayn Hamid ( Selim 1979, 173), dated 1206/1791. Each section of writing appears on a separate piece of differently colored paper, illuminated with gold and dimpled with a stylus for reflection.

The official function of the ijazah consists in giving a student the authority to sign his own calligraphic works with expressions such as katabahu (written by) and hararahu (composed by), thus allowing him to become independent and take on pupils of his own. In order to receive the diploma, the student had to transcribe or copy (taqlid) several lines of calligraphy that had to be approved by one or more co-signatory master calligraphers (Safwat 1996, 40). In some cases, the ijazah may include the calligrapher's chain of teachers (silsilah or sanad) reaching all the way back to the Prophet Muhammad himself (Gacek 1989: 44-55). In the Ottoman tradition especially, the calligraphic diploma (icazetname) was a well established practice linking, in an almost genealogical fashion, a student (talabah) to his teacher (hoca).

Photograph © Abdel Kader Haidara,Bibliotheque Mamma Haidara de Manuscrits et la Documentation. Siège: Tombouctou BP 71 RPp.du Mali

JOC provides access to these materials for educational and research purposes and makes no warranty with regard to their use for other purposes.The written permission of the copyright owners and/or holders of other rights (such as publicity and/or privacy rights) is required for distribution, reproduction, or other use of protected items beyond that allowed by fair use or other statutory exemption.

Sami Efendi [b.1838-d.1912]

By Sami Efendi panel of zerendud celi talik script.

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

Sami Efendi [b.1838-d.1912]

By Sami Efendi panel of zerendud celi sülüs script.

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

Sami Efendi [b.1838-d.1912]

By Sami Efendi inscription of Fesciler Carsisi (Grand Bazaar,Istanbul) of celi tarik script.

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

Sami Efendi [b.1838-d.1912]

Epitaph of Cemberlitas Atikalipasa Cami (entrance door) of celi sülüs script.

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

Sami Efendi [b.1838-d.1912]

By Sami Efendi panel of celi sülüs zerendud scriptin Aksaray Valide Sultan Cami (Mosque) Istanbul.

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

Sami Efendi [b.1838-d.1912]

Sami Efendi panel of celi sülüs script, Türk Petrol Vakfi Collection.

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

Sami Efendi [b.1838-d.1912]

By Sami Efendi inscription of celi sülüs script in Sehzadebasi Cami (Mosque) Istanbul.

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

Sami Efendi [b.1838-d.1912]

By Sami Efendi inscription on paper of celi sülüs script, Süleyman Berk Collection.

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

Sami Efendi [b.1838-d.1912]

By Sami Efendi signed and dated framed panel of celi sülüs script in Merkez Efendi Cami (Mosque) Istanbul.

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

Sami Efendi [b.1838-d.1912]

Epitaph by Sami Efendi of celi sülüs script at Yeni Cami (Mosque)Istanbul.

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

Sami Efendi [b.1838-d.1912]

(b Istanbul, 13 March 1838; d Istanbul, 1 July 1912). Ottoman calligrapher. He was the son of Mahmud Efendi, the head of the quilt-makers guild. Sami learnt ta‛līq script from the calligraphers Kibriszade Ismail Hakkı Efendi and Ali Haydar Bey (1802–70) and thuluth script from Boşnak Osman Efendi. He was also inspired by the work of Mustafa Raqim. Sami’s fine inscriptions and calligraphic compositions adorn several mosques and fountains in Istanbul. He trained such calligraphers as Necmeddin Okyay and Ahmed Kamil Akdik (1861–1941) and was buried in the cemetery of the Fatih Mosque, Istanbul.

BIBLIOGRAPHY

Ş. Rado: Türk hattatları [Turkish calligraphers] (Istanbul, n.d.), pp. 239–41
U. Derman: Hattat Sami Efendi (1838–1912): Hayatı ve eserleri [The calligrapher Sami Efendi (1838–1912): his life and works] (Istanbul, 1962) By Sami Efendi, dated and signed zerendud sülüs script panel.

Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp Text: http://www.groveart.com.ubproxy.ub.uni-frankfurt.de/

Ayten Tiryaki (b. 1961)

By Ayten Tiryaki, signed and dated, inscription on paper of verses from The Holy Book. (Qur'an 2:255) Ayat al-Kursi (The Throne Verse).

Translation: In the name of Allah, the Beneficent, the Merciful.Allah! There is no God but He,the Living, the Self-subsisting, the Eternal.No slumber can seize Him, nor sleep.All things in heaven and earth are His.Who could intercede in His presence without His permission?He knows what appears in front of and behind His creatures.Nor can they encompass any knowledge of Him except what he wills.His throne extends over the heavens and the earth,and He feels no fatigue in guarding and preserving them,for He is the Highest and Most Exalted.Allah, the Most High, speaks the truth.

Photograph ©http://www.tiryakiart.com/tr_index.asp

Ayten Tiryaki (b. 1961)

(b 1961 in Ordu/Turkey). Calligrapher and active in Istanbul. She graduated from Ankara University,Theologion Faculty with MA degree in 1983. Ayten Tiryaki took calligraphy lessons from calligrapher Hasan ÇELEBİ in 1983. She started to study Tezhip (Turkish-Islamic Decorative Art) in Kubbealtı Academy in 1984, continiued her studies with Prof.Dr.Çiçek DERMAN and İnci Ayan BİROL. She got the certificate of Tezhip from Prof.Dr.Çiçek DERMAN in 1986. She joined mixed exhibitions in Turkey and abroad. She got an encouragement prize of branch of Nasih in the 5 th of International Calligraphy Competition which was organized by İRCİCA, Istanbul. A list of exhibitions can be found on her website. After she worked as a teacher in religious schools which were related to Üsküdar and Ümraniye Department of Religious Affairs in Istanbul, she got retired in 2004. She opened a mixed exhibition with her students in Altunizade Culture Center in 2004 where she is organizing calligraphy and tezhip courses and continiues her art studies with her students. She is married and lives with her 3 children in Istanbul.

Contact:
Namık Kemal Mahallesi Yunus Emre Caddesi Kocatepe Sokak
Doğu Apartmanı No:6/9
Ümraniye/ İstanbul
Tel :+90 (216) 329 52 29
Fax :+90 (216) 329 52 30
GSM :+90 (542) 322 39 48
E-Mail : ayten@tiryakiart.com

Photograph ©http://www.tiryakiart.com/tr_index.asp

Selim Türkoglu (b.1960)

(b 1960, Erzincan, Turkey) Calligrapher and active in Istanbul, Turkey. He took his calligraphy master of Sülüs ve Nesih script from Ali Selcuk Erkurt. In Ta’lik script he was inspired and guided by Prof. Ali Alparslan. He was awarded by Cultural Ministry of Turkey in the branch of art of perfect calligraphy. Selim Türkoglu is continuing his works fastidiously to present. He is the founder of Gallery SER in Istanbul, where he works and teaches calligraphy. His works can be found in various collections both in Turkey and abroad.The artist established many solo exhibitons. He also participated in very many group exhibitions.


Contact:
Galeri SER ÇERÇEVE & SANATEVİ
Divanyolu caddesi Ticarethane sk. 14/4 Cağaloğlu,Istanbul, Tel + 90 21 514 61 25

Text/Photograph ©http://www.hattatselim.com/index.htm

Sultan Abdulhamid II Collection - Photography Archive

The Abdul-Hamid collection photography archive contains over 1,800 photographs from the Ottoman Empire. Dating from approximately 1880 to 1893, the images show scenes within the borders of modern Turkey, as well as Ottoman provinces in Greater Syria, Greece and modern Iraq. The photos in the collection were originally presented to the Library of Congress by Sultan Abdul-Hamid II in 1894.

This monumental collection portrays the Ottoman Empire during the reign of one of its last sultans, Abdul-Hamid II. The 1,819 photographs in 51 large-format albums date from about 1880 to 1893. They highlight the modernization of numerous aspects of the Ottoman Empire, featuring images of educational facilities and students; well-equipped army and navy personnel and facilities; technologically advanced lifesaving and fire fighting brigades; factories; mines; harbors; hospitals; and government buildings. Most of the places depicted are within the boundaries of modern-day Turkey, but buildings and sites in Iraq, Lebanon, Greece and other countries are also included.

The images are well displayed on dedicated pages and are available as thumbnails. The main drawback of the website is its organisation as there is no comprehensive index of subjects linked to the home page. However, despite this the collection is still an excellent resource. The photographs give viewers an excellent sense of the Ottoman empire during its final decades.

Photograph © Title: Abdulhamit II, Sultan of the Turks, 1842-1918. Half lgth., standing, right profile. George Grantham Bain Collection (Library of Congress).Library Of Congress. Prints and Photographic Division, http://memory.loc.gov/pp/pphome.html

Mahmud Celaleddin Efendi [b.?- d.1829]

By Mahmud Celaleddin Efendi, inscription on paper of sülüs script. Hilyah [description of the Prophet (Allah Bless him and grant him peace)].

Top section:
"In the Name of God, the Merciful, the Compassionate"

Upper text circular area is surrounded by four small disks containing the names of the first four Caliphs or successors to the Prophet Muhammad, i.e., Abu Bakr (upper right), `Umar (upper left), `Uthman (lower right), and `Ali (lower left). Each disk contains in small letters the blessing, “May God be pleased with him.”

Upper text translation:
Umm Ma`bad, describing the messenger of God (may God bless him and grant him peace), said, "I saw a man, pure and clean, with a handsome face and a fine figure. He was not marred by a skinny body, nor was he overly small in the head and neck. He was graceful and elegant, with intensely black eyes and thick eyelashes. There was a huskiness in his voice, and his neck was long. His beard was thick, and his eyebrows were finely arched and joined together. When silent, he was grave and dignified, and when he spoke, glory rose up and overcame him. He was from afar the most beautiful of men and the most glorious, and close up he was the sweetest and the loveliest. He was sweet of speech and articulate, but not petty or trifling. His speech was a string of cascading pearls, measured so that none despaired of its length.

Middle section:
"We only sent you as a mercy for creation" (Qur'an 21:107). This verse, in which God addresses the Prophet Muhammad, is a fundamental Qur'anic statement about the universal role of the Prophet.

Lower text translation (continues from above):
"and no eye challenged him because of brevity. In company he is like a branch between two other branches, but he is the most flourishing of the three in appearance, and the loveliest in power. He has friends surrounding him, who listen to his words. If he commands, they obey implicitly, with eagerness and haste, without frown or complaint.” May God bless him and grant him peace. God, pray for and grant peace to Muhammad, your servant, your Prophet and your messenger, the illiterate Prophet, and to his family and companions, and grant him peace. Written with the grace of God Most High by Rasheed Butt, may God forgive him.

Text © The Hilya, or the Adornment of the ProphetA Calligraphic Icon Commentary and Translation by Carl W. Ernst,http://www.unc.edu/~cernst/index.html, adapted from Rasheed Butt, http://www.rasheedbutt.com/index.htm
Photograph ©HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp

Mahmud Celaleddin Efendi [b.?- d.1829]

By Mahmud Celaleddin, inscription on paper of sülüs celi script. Transcription: (Abu Bakr, Umar ibn al-Khattab, Uthman ibn Affan, and Ali ibn Abi Talib(names of the four rightly-guided Khalifs).Kaya Ücer Collection.

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