Hasim Efendi [b.?-d.1845]

Zerendud panel, 42.00 x 96.00 cm, signed Haşim Efendi (?-1845), undated.

Photography/ Text © Antik A.S.

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Hafiz Osman [ca.1650]

Thuluth Nasih[ Kıt`a] panel, 57.00 x 43.00 cm, signed Hafız Osman (1642-1698)

Photography/ Text © Antik A.S.

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Dervis Ali [17th Century]

Enam-ı Şerif, 20x14 cm, dated AH 1080 (1669) signed Derviş Ali (?-1673)

Photography/ Text © Antik A.S.

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Mahmud Celaleddin [ca.1815]

Jali Thuluth Panel, 46.00 x 58.00 cm, undated, signed Mahmud Celaleddin [attributed]

Photography/ Text © Antik A.S.

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Hamid Aytac [1954]

Signed Hamid Aytaç, Jali Thuluth Panel, 54.00 x 50.00 cm, dated H. 1374 (1954)

Photography/ Text © Antik A.S.

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Abdulmecid bin Mahmud [( 31st Sultan of the Ottoman Empire) 1823-1861]

Thuluth Nasih panel, 27.00 x 34.00 cm, signed Abdülmecid Bin Mahmud (Sultan Abdü’l-Mecīd-i evvel) (1823-1861)

Photography/ Text © Antik A.S.

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Hafız Mehmed Fehmi Efendi [b.1860-d.1915]

Aşere-i Mucize, 56.00 x 41.00 cm, dated H. 1304 (1886), signed by Hafız Mehmed Fehmi Efendi (1860-1915)

Photography/ Text © Antik A.S.

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Kazasker Mustafa Izzet Efendi [1848]

Kazasker Mustafa İzzet, Hilye-i Şerife, 90.00 x 56.00 cm, dated H. 1265 (1848), signed by Calligrapher

Photography/ Text © Antik A.S.

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Sheikh Sirri [1866]

Calligraphic panel (Dervish Lodge Style), 74.00 x 70.00 cm, dated H. 1283 (1866), signed Sheikh Sırrı

Photography/ Text © Antik A.S.

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Hulusi Efendi [ca.1923]

Calligraphic Panel, text in jali talik, 51.00 x 52.00 cm, dated 1923, signed by Hulusi Efendi

Photography/ Text © Antik A.S.

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QUR'AN LEAF IN KUFIC SCRIPT ON VELLUM

Photography© Sotheby´s

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Esseyid Mehmed Ferid [(Nakshiband) 1878]

Icazet Hilye-i Şerife, 57.00 x 41.00 cm, dated H. 1296 (1878), signed, Esseyid Mehmet Ferit (Nakşibendi)

Photography/ Text © Antik A.S.

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Hafız Vahdeti [b.1832-d.1896]

Tuhgra panel signed Hafız Vahdeti (1832-1896), dated h.1278 (1861), dimension 68.00 x 90.00 cm.

Photography/ Text © Antik A.Ş

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Ferid [b.1858- d. ?]

Tuhgra panel signed Ferid (b.1858-d.?), dated h.1308 (1890), dimension 48.00 x 57.00 cm.

Photography/ Text © Antik A.Ş

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by MEHMET TEVFİK (b. ? – d.?) signed and dated, h.1328 (1910). Jali Thuluth style.

Photography/ Text © Portakal Sanat ve Kültür Evi, Istanbul, Turkey

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by MEHMET TEVFİK (b. ? – d.?) signed and dated, h.1328 (1910). Jali Thuluth style with ottoman rococo ornaments. It reads: “Ya Hazret-i Şeyh Sultan Seyyid Abdülkadir Geylani Kuddise Sırrıhü” Dimension 46 x 34 cm.

Photography/ Text © Portakal Sanat ve Kültür Evi, Istanbul, Turkey

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Hasan Temiztürk (b Sivas, 12 May 1959)

(b. Taslihüyük/Sivas, Turkey 12.May 1959) Turkish calligrapher. He lives and works since 1969 in Germany. His line is a combination of classical- and experimental-modern style. Temiztürks works of art are contemporary, unique, spectacular and on unusual materials.Very new compositions are never seen before. As an peaceworker he describes himself as a mediator between the cultures and religions. Work for art and culture exchange, better understanding and living in peace together in our small transitory world. Hasan Temiztürk is one of the world most collected islamic calligraphic artists. In more than 100 Mosques in Germany his works are exhibited. His works can be found in many private collections like, Collection of Crown Prince of Dubai H.H. Shaikh Muhammed Rashed Al Maktoum, Finance Min. of UAE Dr. Muhammed Khalfan Bin Karbash, Shayka Hussah Al Sabah- Kuwait, HM.Sultan Bin Mohamed Al Qasimi, Sharja, HM. Haji Sultan Hasanal Bolkiah Brunei HM.Queen Elisabeth II, PM Tony Blair, London Mayor K. Livingstone, Ex. Turkish President Süleyman Demirel, Annemarie Schimmel, Dow Jones: Rushdi Siddique,Turkish National Library Ankara,Calligraphic Museum Istanbul.

Exhibitions and Workshops

1989 Nour Mosque, Karlsruhe, Germany
1990 Central Library Duisburg, Germany
1991 Barockhäuser, Würzburg, Germany
1992 Historic City Hall, Hanau, Germany
1993 Academie Plast Kunsten, Genk, Belgium
1994 Pfälz. State Library, Speyer, Germany
1995 Museum Verkehr-Technik, Berlin, Germany- Meeting of world calligraphers
1996 State Parliament Schleswig Holstein Kiel, Germany
1997 Klingspor Museum, Offenbach, Germany
Official invitation by President of Republic of Turkey Süleyman Demirel, Ankara, Turkey
1998 Official invit. German catholics church meeting as 1. muslim artist, Mainz, Germany
1999 Invitation to Heimatmuseum Berlin, Germany
2000 Invitation to Opendeuwekk Antwerp-Belgium
2000 City Library Worms, Germany
2001 „MS Marksburg“(Ship) Mannheim, Germany
2001 Official invitation German protestant church meeting as 1. muslim artist Frankfurt
2003 Forum Lohberg Dinslaken
2004 International Finance Forum Dubai- U.A.E
Gutenberg Museum, Mainz, Germany
University of Heilbronn, Germany
Lecture "Islamic Art History" and workshop"Arabic Calligraphy", Heilbronn, Germany
2006 State Parlament Rheinland. Pfz. Mainz, Germany
1.Islamic, Christian, Jewish and Budism Interfaith Exhibition.
2007 University of Frankfurt, Germany
Lecture "Islamic Art History" and workshop "Arabic Calligraphy" Frankfurt, Germany


Contact

Hasan Temiztürk
Hohestrasse 10
D-63069 Offenbach/M., Germany
Phone + 49-(0)176- 240 690 02
email: htemiztuerk@aol.com
www.fuen-ul-islam.de

Get direction: Location Map

Photography/ Text © by artist Hasan Temiztürk.

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Hafiz Osman (b Istanbul, 1642; d Istanbul, 1698)

(b Istanbul, 1642; d Istanbul, 1698)Ottoman calligrapher. Son of a muezzin at the Haseki Sultan Mosque, he memorized the Koran at an early age and became known as Hafiz (Arab.: ‘he who knows the Koran by heart’). The Ottoman grand vizier Mustafa Pasha encouraged him to study with the Dervish ‛Ali Mustafa al-Ayyubi (d 1668) and then with Nafaszada Sayyid Ismail Efendi. Hafiz Osman attained his degree at the age of 18 and spent most of his life teaching and writing. His pupils ranged from the Sultans Mustafa II (reg 1695–1703) and Sultan Ahmad III (reg 1703–30) to poor students for whom he set aside one day a week. Considered the second most important Ottoman calligrapher after Seyh Hamdullah, Hafiz Osman evolved a simple, pure style of naskh based on that of Yaqut al-musta‛simi and Seyh Hamdullah. This style became the model for later calligraphers such as Mustafa Raqim Efendi, Mahmud Cemaledin Efendi (d 1829) and Mustafa Izzet Efendi. Hafiz Osman was also responsible for the development of dīvānī jalī, an ornamental script used in the chancelleries for official documents. In addition to transcribing many copies of the Koran (e.g. Istanbul, U. Lib., A. 6549), single pieces and albums of exercises, he was one of the first to pen large calligraphic descriptions of the Prophet Muhammad (Arab. hilya; e.g. 1691; Dublin, Chester Beatty Lib., MS. 2). He was paralysed three years before his death and was buried in the Koca Mustafa Pasha cementery.

BIBLIOGRAPHY
D. James: Islamic Masterpieces of the Chester Beatty Library (London, 1981), no. 40
H. Lowry: ‘Calligraphy: Hüsn-i hat’, Tulips, Arabesques & Turbans: Decorative Arts from the Ottoman Empire, ed. Y. Petsopoulos (London, 1982), p. 173; no. 174
The Anatolian Civilisations III: Seljuk/Ottoman (exh. cat., 18th Council of Europe exh.; Istanbul, 1983), no. E.309

Photography/ Text © HAT SAN'ATI Tarihçe, Malzeme ve Örnekler, Istanbul. http://ismek.ibb.gov.tr/portal/yayinlarimiz.asp Text: www.groveart.com

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Necmeddin Okyay Efendi [Efendi, Necmeddin; Üsküdari (b Istanbul, 29 Jan 1883; d Istanbul, 5 Jan 1976) ]

(b Istanbul, 29 Jan 1883; d Istanbul, 5 Jan 1976). Turkish calligrapher. He attended the Ravzai Terakki school, where he received lessons in calligraphy from Mehmed Şevki and from Hasan Talat Bey. In 1905 he received permission to write in the ta’lıq style from Sami Efendi (1838–1912) and in 1906 received permission for the thuluth and naskh styles from Bakkal Arif Efendi. Later, at the School of Calligraphers, he learnt to draw tughras and practised jali-thuluth (Turk. celi-sülüs) with Ismail Hakkı Altınbezer (1870–1946). He also learnt from Shaykh Ethem Efendi the art of marbled paper, at which he became very skilful. His use of the surname Okyay came from his proficiency at archery. He succeeded his father as preacher and Imam at the Yenicami mosque at Üsküdar in Istanbul, where he remained for 40 years. He taught at the School of Calligraphers, the Oriental Decorative Arts School and finally at the Academy of Fine Arts in Istanbul, where he practised the ta’lıq style with his pupils. In addition to writing, he explored many crafts and skills related to calligraphy. From Baha Efendi he learnt the art of Turkish classical bookbinding and made fine sunburst bindings, and in turn trained Emin Barın (b 1913) and Islam Seçen in this art. He also learnt how to polish paper, developed formulae for preparing different varieties of ink and was skilled at identifying unsigned works of calligraphy. Among his pupils was the calligrapher Ali Alparslan (b 1925).

BIBLIOGRAPHY
S. Rado, ed.: Türk hattatlari [Turkish calligraphers] (Istanbul, n.d.), p. 265 [Turk. text]
M. Ülker: The Art of Turkish Calligraphy from the Beginning up to Present (n.p., 1987), p. 89 [Eng. and Turk. texts]

Photography © Gallery of Portakal Sanat ve Kültür Evi, Istanbul. Text: Grove Art Online

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Mehmed Şefik [Şefik Bey; (b Istanbul, 1819; d Istanbul, 1880) ]

(b Istanbul, 1819; d Istanbul, 1880). Ottoman calligrapher. He first studied calligraphy with Ali Vasfi and then with Mustafa Izzet. In 1845 he was appointed teacher of calligraphy to the Muzika-i Hümayun, the imperial brass band. Together with the calligrapher Abdülfettah (1814–96), he was sent by Sultan Abdülmecid (reg 1839–61) to Bursa to repair the inscriptions in the Ulu Cami (congregational mosque), which had been severely damaged in the earthquake of 1855. His inscriptions there are reckoned among his finest works. During the three years he spent on this project he also wrote inscriptions in other mosques. His work includes beautiful compositions in thuluth, jalī, naskh and dīvānī scripts.

BIBLIOGRAPHY

K. Baykal: Bursa’da Ulu Câmi [The Ulu Cami of Bursa] (Istanbul, 1950)
A. S. Ünver: Hattat Şefik Bey (1819–1880): Hayatı ve eserleri [The calligrapher Şefik Bey (1819–1880): his life and works] (Istanbul, 1956)
Ş.Rado: Türk hattatları [Turkish calligraphers] (Istanbul, n.d.), pp. 220–21

Photography © Gallery of Portakal Sanat ve Kültür Evi, Istanbul. Text www.groveart.com

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