YAHYA FAHREDDIN

Yahya Fahreddin was born in Istanbul and was generally known as Sari Yahya (Yahya the Fair) of Tophane. He was the son of one Osman Effendi. His date of birth is uncertain, but he is known to have learned the art of calligraphy from Anbarizade Dervis Ali and to have continued his studies after the death of his teacher with Hüseyin Habli Effendi, from whom he received his wet in 1138 H.He wrote fifteen copies of the Qur’an and was responsible for the inscriptions over the doors of the Nuruosmaniye Mosque. He died in 1169 H. and was buried opposite the Sheikh Murad tekke in Eyup.

YESARI: “Mehmed Esad Yesari” (d. 1798)

Mehmed Esad Yesari was a native of Istanbul. He was born paralysed down the right hand side of his body, which gave rise to the nickname “Yesari” (left-handed). He learned the art of calligraphy from the master of Ta’Iiq script Mehmed Dedezade and very quickly gained his icazet. (1167 H.).He trained a considerable number of pupils and his writings and inscriptions are to be seen on many mosques, tombs, fountains, imarets, etc. in Istanbul. His son Musfafa Izzet Effendi was, like his father, a master of Ta’liq script.He died in 1213 H. and was buried in the vicinity of the Fatih Mosque.

YUSUF: ‘Demirci Kulu”

Yusuf was a native of Istanbul. He was born in the district of Tophane but his date of birth is uncertain. He was the slave of Demirci Agha, who cast the metal for the cannons in the foundry belonging to the Corps of Janissaries, and was thus generally known as ‘Demirci KuIu’ (save of the iron-worker).He learned the art of calligraphy from Dervish Mehmed Celebi, a pupil of Ahmet Karahisari, and from Abdullah Kirimi. He was responsible for the Jeli inscriptions in the mosque built by the famous Turkish seaman and Admiral Kilic All Pasha at Tophane. The date of his death is given in the Tuhfe-i Hattatin as 1020 H., and in the Hattatlar silsilesi by Gebecizade Mehmed Vasfi Effendi as 1018 H. He is buried in the cemetery belonging to the Karabas tekke (dervish lodge) at Tophane.

YUSUF: ‘Demirci Kulu”

Yusuf was a native of Istanbul. He was born in the district of Tophane but his date of birth is uncertain. He was the slave of Demirci Agha, who cast the metal for the cannons in the foundry belonging to the Corps of Janissaries, and was thus generally known as ‘Demirci KuIu’ (save of the iron-worker).He learned the art of calligraphy from Dervish Mehmed Celebi, a pupil of Ahmet Karahisari, and from Abdullah Kirimi. He was responsible for the Jeli inscriptions in the mosque built by the famous Turkish seaman and Admiral Kilic All Pasha at Tophane. The date of his death is given in the Tuhfe-i Hattatin as 1020 H., and in the Hattatlar silsilesi by Gebecizade Mehmed Vasfi Effendi as 1018 H. He is buried in the cemetery belonging to the Karabas tekke (dervish lodge) at Tophane.

YUSUF: “Court tutor Hafiz Yusuf” (d. 1783)

Yusuf was a native of Istanbul. He was born in the district of Tophane but his date of birth is uncertain. He was the slave of Demirci Agha, who cast the metal for the cannons in the foundry belonging to the Corps of Janissaries, and was thus generally known as ‘Demirci KuIu’ (save of the iron-worker).He learned the art of calligraphy from Dervish Mehmed Celebi, a pupil of Ahmet Karahisari, and from Abdullah Kirimi. He was responsible for the Jeli inscriptions in the mosque built by the famous Turkish seaman and Admiral Kilic All Pasha at Tophane. The date of his death is given in the Tuhfe-i Hattatin as 1020 H., and in the Hattatlar silsilesi by Gebecizade Mehmed Vasfi Effendi as 1018 H. He is buried in the cemetery belonging to the Karabas tekke (dervish lodge) at Tophane.

YUSUF: “Court tutor Hafiz Yusuf” (d. 1783)

Hafiz Yusuf was born in Anatolia but migrated to Istanbul. He was keenly interested in calligraphy and received his icazet from Ibrahim Rodosi. He learned the niceties of the art of calligraphy from Hoca Mehmet Rasim Effendi of Egrikapi, and was appointed teacher in Galatasaray Lycee.He died in 1201 H.

ZIYA: ‘Ahmed Ziya” (1869 - 1938)

Ahmed Ziya was born in Istanbul in 1286 H. He studied in Kuleli Military School and in the Military Academy from which he graduated as an officer. He learned Thuluth and Naskhi from Hulusi Effendi, a pupil of Sevki, and Jeli Thuluth from Sami Effendi. He was also a graduate of the Sanayi-i Nefise (Academy of Fine Arts), which he entered in 1309 H. He was a good painter. He also studied ilmi nucum (astronomy). He was appointed muvakkit (time-Keeper) in the Muvakkithane of Eyup Mosque. He ater taught mathematics, cosmography and mechanics in the Halicioglu Military Lycee.This distinguished calligrapher, painter and scholar died in 1357 H. and was buried in the cemetery at Silivrikapi.

ZUHDI: lsmail Zühdi” (d. 1806)

mail Zühdi was a native of Unye and the elder brother of the calligrapher Mustafa Rakim. He learned Thuluth and Naskhi from Ahmet Hifzi Effendi of Fethiye, from whom he received his icazet. He was appointee Court tutor in calligraphy and trained a large number of pupis, the most distinguished of these being his own brother Mustafa Rakim.He died in 1221 H. and was buried in the cemetery at Eyup.

ABDULFETTAH (1814 - 1896)

Abdullfettah was born on the island of Chios in 1230 H. He was brought to Istanbul at a very early age and educated under the patronage of Husrev Pasha. He learned Thuluth, Jeli and Naskhi from a calligrapher of the name of Mustafa Sakir Effendi and received his icazet in 1847. He was employed first in the Secretariat of the Grand Vizier and subsequently in various government posts in Anatolia. In 1857 he was appointed designer of coins in the Imperial Mint, and was sent to Vienna and Paris for further professional training. He died in Vanikoy in 1314 H. and was buried in the garden belonging to the tomb of Sultan Mahmud.

Tughra in Neo-Byzantine Mosaic Style - German Fountain Sultanahmet/Istanbul

Photograph © Volkan Akgül (Tughra). http://www.fotokritik.com

Museum of Classical Divan Literature - Galata Mevlevi Lodge

The Galata Mevlevi Lodge (mevlevihane) or as it is also known the Kulekapı Mevlevi Lodge which is now serving as a museum, is one of the institutions which reflect the culture of the era in the best possible way. The Mevlevi Lodges which for centuries combined scholarship with music, had a great influence on the Turkish culture. A great number of those people who came together in a Mevlevi Lodge environment were educated in various areas of fine arts and their names were remembered for a long time as far as science and scholarship was concerned. The Mevlevi Lodge which is located at the top of the steep street going down to Yüksekkaldırım is the oldest Mevlevi Lodge of İstanbul. It was built in 1491, on the hunting grounds of İskender Pasha who was a governor - general during the times of Sultan Bayezid. Its first master was Mehmet Mehmed Sema-i Çelebi. The building was struck by fire during the reign of Sultan Mustafa III. (1766) but was replaced by the existing Mevlevi Lodge by the same Sultan. In later years, the building underwent repairs during the reigns of Sultans Selim III, Mahmud II and Abdüllmecid. The institution which carried out its activities until 1925 was once more restored between the years 1967 - 1972. The Mevlevi Lodge which was built as a complex contained rooms and spaces for pray chanting, dervish cells, the quarters of the master (şeyh), special prayer (namaz) area for the Sultan, the section for the female members, library, fountain for the public, clock room, kitchen, mausoleums and an enclosed graveyard.


Semahane(Ritual Prayer Hall)On the enterence door of this wood structured section there is the restoration statement of Sultan Abdülmecid dated 1853. The building has an octagonal plan and a good sample of the baroque style of the 18th century. In this section Turkish musical instruments and works related to the Mevlevi culture are exhibited. In the upper section which is divided with wooden grills, the poems (divan) of the Classical Ottoman poets and manuscripts belonging to Şeyh Galib, İsmail Ankaravi, Esrar and Fasih Dedes and the poetess Leyla Hanım who were trained and educated at the Mevlevi Lodge are kept in chronological order. The quarters of the master (şeyh) and the special praying area for the Sultan are upstairs. Dervish CellsIt is constructed with stone and consists of rooms in a row.

Mausoleums

Şeyh Galib Mausoleum; It was built by Halet Said Efendi at the beginning of the 19th century. It has a square plan. Mehmed Ruhi, Hüseyin, İsa Selim, Şarih-, İsmail Ankaravi who first annotated the Mesnevi and Şeyh Galib Efendi are buried here.
Halet Said Efendi Mausoleum; It was built at the same time as the other mausoleum. Has a square plan. Inside, Şeyh Kudretullah, Ataullah Efendi, Halet Said Efendi and Emine Esma Hanım who is the wife of Ubeydullah Efendi are burried.

Fountain and the Clock RoomThey are located to the right of the entrance. The masonary structure was built in early 19th century.

LibraryIt was built by Halet Said Efendi. It is on the top floor of the special prayer place and contains 3455 volumes.

Treasury (Graveyard)
Those who functioned as masters (şeyh) at the Mevlevi Lodge, their spouses, the “kudum” and “ney” playing musicians and poets who had “divans” (volume of collected poems) are burried here. The graves of Humbaracı Ahmed Pasha, İbrahim Müteeferrika who set up the first printing press in Turkey, the composer Vardakosta Seyyid Ahmet Ağa, Nayi Osman Dede, and the family members of Tepedelenli Ali Pasha are also here. The tomb stones are significant for their inscriptions and decorations.

Address: Galipdede Caddesi, No:15, TünelOperating days and hours: Closed Mondays / 09.30-17.00

Copyright Notice: Rebuplic of Turkey Ministry of Culture and Tourism

Photograph © Suat Öneren (Ritual Prayer Hall). http://www.fotokritik.com

Photograph © H. Turay Yüksel (Dervishes). http://www.fotokritik.com/

Inside Mevlana of Tomb

Photograph © Yasin TEMEL. http://www.fotokritik.com

Sultan Selim Mosque in Edirne/Turkey

Photograph © Ekin Oğuz. http://www.fotokritik.com

Turkish Foundation Calligraphy Art Museum , Istanbul/Turkey

Turkish Foundation Calligraphy Art Museum which is presently active in Beyazıt Medresse in Beyazıt Square was originally opened under the name of Turkish Calligraphic Arts Museum in Sultan Selim Medresse in 1968.The museum which was relocated in 1984 to where it is now, calligraphy works of many famous calligraphers and calligrapher sultans, sheets, sultan monograms and Korans arranged according to type are on display.

Address: Beyazıt Square 34490, Beyazıt – Istanbul
Phone: +90 212 527 58 51
Open daily except Mondays and Sundays , 09:00-12:00 / 13:00-16:00


Get direction: Location Map

MEHMET TEVFİK ? – ?

We know neither the date of his birth nor the date of his death.






















Photograph © http://www.rportakal.com/. h.1328 (1910), Its read: “Ya Hazret-i Şeyh Sultan Seyyid Abdülkadir Geylani Kuddise Sırrıhü”, 46 x 34 cm.

Filibeli Bakkal Arif Efendi 1830 – 1909

Photograph © http://www.rportakal.com/. dated .1315 (1897). “Alem içre muteber bir nesne yok devlet gibi olmaya devlet cihanda bir nefes sıhhat gibi”, 52 x 86 cm.









A Celis-sülüs Hilya by the Calligrapher.

Hafiz Vahdetî (1832 -1896)

Photograph © http://www.rportakal.com. h.1282 (1865). It reads: “Allah”, “Ya Hazret-i Şeyh Seyyid Sadettin Cibavi” and Surah Ihlas . Halvetiye tarikati Cerrahi kolunun sikkesi, 74 x 59 cm.















Calligraphy by Hafiz Vahdeti





























































































































Photograph © http://www.rportakal.com. h.1282 (1865). It reads: “Allah”, “Ya Hazret-i Şeyh Seyyid Sadettin Cibavi” and Surah Ihlas . Halvetiye tarikati Cerrahi kolunun sikkesi, 74 x 59 cm.

Sultan ABDULMECID (1823 - 1861)

Abdülmecid learned the art of calligraphy and received his icazet from Mehmet Tahir Efendi, a faithful disciple and devoted pupil of Mahmud Celaleddin, the founder of his own individual school of calligraphy. Panels written by Abdülmecid in Thuluth and Jeli in the style of Celaleddin are to be found in several Istanbul mosques and museums, particularly in the mosques of Dolmabahce and Ortakoy. He died in 1861 at the age of thirty-eight.

Calligraphy by Sultan Abdulmeci I.

ABDULLAH: “Gabizade”

We know neither the date of his birth nor the date of his death, but in view of the fact that his teacher ibrahim Hanif, from whom he learned both Thuluth and Naskhi, died in 1189 H, (1771), he can be assumed to have lived in the twelfth century of the Hegira (eighteenth century A.D.).

ABDULLAH: Eseyyid Abdullah of Yedikule -1731

Abdullah of Yedikule was the favourite pupil of the celebrated calligrapher Hafiz Osman Efendi, and we know from the register of calligraphers that he received his icazet in 1102 H. He achieved great beauty and perfection in his use of Thuluth and Naskhi and was awarded both praise and protection by Sultan Ahmed Ill. He produced twenty-four Qur’ans as well as a number of Enams, Evrads, Kit’as, Murak’kas and Hilye-i Serifs. He had a large number of pupils. Most of his works are preserved in the Nuruosmaniye Library. Abdullah Effendi was greatly loved and admired by his teacher. He used the name Seyyid to indicate that he was descended from the family of the Prophet. He bid farewell to this transitory world in 1144 H.

ALI: “Ibrahimhanzade Ismail bin Ali” (d. 1164 H. - 1746 A.D.)

Ismail bin Ali was a native of Istanbul. He received his icazet in Thuluth and Naskhi from Hoca Mehmet Rasim Efendi of Egrikapi. He was also interested in Ta’Iiq script and took lessons from Katipzade Mehmet Refi Efendi. He died in 1164 H. and was buried in the cemetery at Eyup/Istanbul.

ALl: “Ali Efendi of Circir or Haydar” d. 1324 - 1906 A.D.)

Ali Effendi learned Thuluth and Jeli from Kazasker Mustafa Izzet’s favorite pupil Sefik Bey. He produced some very fine compositions and was one of the most highly regarded masters of the time, gaining very considerable renown.


Photograph © www.mackamezat.com









Photograph © www.mackamezat.com. dated h.1288. 31 x 54 cm

ARIF: ‘Haci Arif Bey of Carsamba” (d. 1892)

He was known as Haci Arif of Carsamba because he lived in that district of Istanbul. He learned Thuluth and Naskhi from Hasim Effendi, an apprentice of Mustafa Rakim, and Ta’liq from Kibrisizade Hakki and Melek Pasazade Ali Haydar Bey. Arif Bey displayed great skill in istifs and musennas in Jeli Thuluth. These exquisite works aroused great admiration and appreciation. Arif Bey was also a master of the tughra. He died in 1310 H. and was buried in the Yavedud cemetery near Eyup/Istanbul.

Sheikh HAMDULLAH: (1436 - 1520)

The great master of calligraphy Sheikh Hamdullah was born in Amasya in 840 H. He founded his own individual school of calligraphy and was generally known as “Kible-tül Kuttab”(paragon) of Turkish calligraphersIn the section dealing with the history of calligraphy we have already mentioned how he came to Istanbul and was appointed teacher of calligraphy in the Palace’s school by Sultan Bayezid II. Here we shall confine ourselves to a brief account of the great changes he brought about in the art of calligraphy.Sheikh Hamdullah developed the Thuluth and Naskhi scripts, which have survived with very little change to the present day, from the Muhakkak and Tevki scripts, which up to that time had been written in the style of Yakut. He devoted his whole life to the art of calligraphy, producing forty-seven Qur’ans and innumerable En’ams, Evrads and Cuz. Topkapi Saray Museum contains two exquisite copies of the Qur’an.This great master of calligraphy died in 926 H. and was buried in the cemetery of Karacaahmet.

Calligraphy by Sheikh Hamdullah Efendi

HALIL MIR TEVKII

Halil Mir Tevkii was the son of one All Pasha. The dates of his birth and death are uncertain, but he is known to have lived during the reign of Sultan Mahmud I, to have learned calligraphy from Hüseyin Habli and to have been appointed to a position in the Saray.

Hattat Hocazade Hafız Mehmed Hulusi Yazgan (1285/6/1868/9 - 1358/1940)

Hulusi Effendi was born in Istanbul in 1285/6 H. He learned Ta’liq from Haci Arif Bey of Carsamba and Sami Effendi, and Thuluth and Naskhi from Muhsinzade Abdullah Bey. He was teacher of writing in Darüssafaka Lycee and the Medresetül Hattatin.Hulusi Effendi was one of the greatest Turkish masters of Ta’Iiq and Ta’liq Jeli. He spent his whole life, however, in financial distress and poverty. He died in 1358 H. The recent calligraphers Halim Ozyazici and Kemal Batanay were two of his most distinguished pupils.


A Work by Hulusi Efendi

KAMIL EFFENDI: “Ahmet Kamil Akdik” (1880 - 1951)

Kamil Effendi was born in Istanbul in 1278 H. He learned Thuluth and Naskhi from the great calligrapher Sami Effendi, from whom he also received his icazet. He later learned from the same teacher the art of the tughra and Divani script. He held the post of teacher of writing in the Divan-i Hümayun Kalemi (Secretariat of the Imperial Chancery). In 1914 he was appointed teacher of Thuluth and Naskhi in the Medrese-tul Hattatin, in 1918 teacher of writing in Galatasaray Lycee and in 1936 teacher of calligraphy in the Academy of Fine Arts.He was twice invited to Egypt, where he left a considerable number of very fine works. He died in 1360 H. and was buried in the cemetery at Eyup/Istanbul.

A portrait of the Calligrapher painted by Seref Akdik

Sultan Mahmud II (1784 - 1839)

Mahmud II was taught the art of calligraphy first by Gebecizade Mehmet Vasfi Efendi and later by Ustad Mustafa Rakim. He was particularly interested in Naskhi, Thuluth and Jell Thuluth. Several very fine panels written by Mahmud II in Jeli Thuluth are to be see in a number of Istanbul mosques and museums. He died in 1255 H.

Calligraphy by Sultan Mahmud II.

Calligraphy by Sultan Mahmud II.

A Calligraphy by Sultan Mahmud II in Bursa Ulucami.

MAHMUD CELALEDDIN (d. 1829)

His date of birth is uncertain but he is known to have been born in Daghistan and to have arrived in Istanbul with his father Sheikh Murad Effendi at a very early age. Although his interest in calligraphy led him to apply to several calligraphers for lessons he was of such a difficult disposition that no one would accept him as a pupil and he was obliged to teach himself the art of calligraphy by examining calligraphic models and karalamas by the great masters. In Nashki he followed Hafiz Osman while in Thuluth and Jeli he created an individual style of his own.His wife Esma Ibret Hanim was also a calligrapher of great merit. He died in 1245 H. and was buried in the cemetery of the Sheikh Murad Tekke (dervish lodge) at Eyup/Istanbul.
Works of Calligraphy by the Calligrapher can be seen in the Türk Vakıf Hat Sanatları Müzesi in Istanbul.

A Calligraphy by Mahmud Celaleddin Efendi

A Calligraphy by the master. Its read: "Ya Hazret-i Muhammed Bahauddin Sah Naksbend (K.S.)

MEHMED: ‘Dervis Mehmed’ (d. 1483 H.)

Mehmed was the grandson of Mustafa Dede, the son of Sheikh Hamdullah. He learned the art of calligraphy from his father, from whom he also received his icazet. In Thuluth and Naskhi he imitated the style and character of the script used by his grandfather. He was buried near the grave of his grandfather in the cemetery of Karacaahmet/Istanbul.

MEHMED: “lmamzade” (d. 1751)

Mehmed was born in Besiktas in Istanbul. The cognomen “imamzade” indicates that his father was an imam. The works that have survived display great delicacy and finesse in the use of Naskhi script. He died in 1165 H.

MEHMED IZZET EFFENDI: (1841 - 1903)

Mehmed Izzet Effendi was born in Istanbul in 1257 H. We do not know from whom he received his icazet, but he is known to have written a very beautiful Thuluth and Naskhi and to have written the Rik’a script in a very pleasing style peculiar to himself. He taught writing in various schools including Galatasaray Lycee. Two of his books of calligraphy models for students have been published. The inscription on the dome of the German Fountain in Sultanahmet bears his signature. He died in 1320 and was buried in the Yahya Effendi cemetery in Besiktas.

A Divani from: Hutut-i Osmaniye, Istanbul 1892, p. 51 by Mehmed Izzet Efendi (1841–1904).

A Celi Divani from: Hutut-i Osmaniye, Istanbul 1892, p. 51 by Mehmed Izzet Efendi (1841–1904).

German Fountain in Istanbul. Photograph © Senem Güdücüoglu

MEHMED “Sekerzade” (d. 1752)

Mehmed Sekerzade was born in Manisa, but the date of his birth is uncertain. He came to Istanbul and took lessons in Thuluth and Naskhi first from Abdullah Kirimi and later from Seyid Abdullah of Yedikule, from whom he received his icazet. An illuminated Quran written in the style of Sheikh Hamdullah was published by the Ministry of Education in 1312 H. (1888).

MEHMED: “Giridi” (d. 1751)

Mehmed Giridi was born in Crete and came to Istanbul to study the art of calligraphy He learned calligraphy and received his icazet from Hafiz Osman Effendi, and later engaged in discussions with the calligrapher small bin All of Agakapi on the subject of calligraphy. He died in 1165 H.

MEHMED SAID: ‘Berberzade” (d. 1774)

Mehmed Said was a native of Istanbul and resided in the Mahmutpasa district. He learned the art of calligraphy and received his icazet from Sekerzade Mehmed Effendi. He was a very prolific calligrapher. He died in 1192 H. (1774)

MUSTAFA: “Suyolcuzade Eyyubi” (d. 1685)

He was born in Istanbul, and was the grandfather of the Suyolcuzade Mehmed Necib who wrote a work entitled “Devha-tül Kuttab” on the subject of Turkish calligraphers.He learned the art of calligraphy and received his icazet from Dervish Ali “Birinci”, a pupil of Halid Erzrumi. He himself taught Hafiz Osman, one of his very numerous pupils. He flourished during the reign of Sultan Mehmed IV. He wrote some fifty copies of the Qur’an, a large number of En’ams, prayer books and Murak’kas. He died in 1097 H. (1685) and was buried in the Eyup cemetery.

Pupils of the master: Ömer b. İsmâil (ö. 1097/1686); Abdurrahman el-Müzehhib (1098/1687); Mehmed Azîzî b. Îsâ (ö. 1100/1689); Mehmed Enverî (ö. 1106/1694); Osman b. Ali (Hâfız) (ö. 1110/1742); Feyzullah b. Mehmed (ö. 1115/1703); Mehmed (ö. 1120/1708); Mustafa Salâtî (ö. 1120/1708); Ahmed (ö. 1120/1708); Abdullah b. hüseyin (ö. 1122/1710); Mustafa Hâfız (ö. 1128/1716); Şeyh Mehmed b. Ali b. Ahmed (ö. 1129/1717); İbrâhim Feyzî (ö. 1136/1724); Ali (ö. 1138/1725); Ebu Bekir b. Ahmed (ö. 11414/1729); Seyyid Abdülkâidr (ö. 1146/1733); Abdullah (ö. 1150/1737); Mehmed b. Ali (ö. 1159/1746); Ahmed b. Mahmûd, Ahmed b. İbrâhim.


Calligraphy by Suyolcuzâde Eyyûbî Mustafa. Photograph © (TİEM, nr. 2457)http://www.turkislamsanatlari.com

MUSTAFA: “Hacizade”

Hacizade Mustafa was born in Cengelkoy, but the dates of his birth and death are uncertain. In the “Hattatlar Seceresi” (Genealogy of Calligraphers) written by the calligrapher and court tutor Mehmet Vasfi Effendi he is mentioned as having received his icazet from Mustafazade Süleyman Effendi.

MUSTAFA KUTAHI: (d.1787)

As his name indicates he was born in Kütahya. He learned the art of calligraphy from Mustafazade Süleyman Effendi, a pupil of Ibrahim of Rhodes. He died in 1202 H.


A Work by Mustafa Kütahi. Medallions bearing the names of the Prophet Muhammad and God (Allah). Ottoman Empire, A.H. 1185 (1771/1772 C.E.). Gift of Blanche Wolf Kohn '08.

A Hilye-Serif by Mustafa Kutahi

Calligraphy - A Noble Art

Written by Kamel Al-Baba

In a broad sense, calligraphy is merely handwriting, a means of recording and transmitting information, sometimes clearly, sometimes not, but in most instances hastily and with little regard for its appearance. In the Arab world calligraphy is something more. It is an art—indeed the chief form of visual art—with a history, a gallery of great masters and hallowed traditions. It is an art of grace and elegance which inspires wonderment for its appearance alone.

What distinguishes calligraphy from ordinary handwriting is, quite simply, beauty. Handwriting may express ideas, even great ideas, but to the Arab it must express, too, the richer dimension of aesthetics. Calligraphy to the Arab is, as the Alexandrian philosopher Euclid expressed it, “a spiritual technique,” flowing quite naturally from the influence of Islam.

For thirteen centuries the dominant influence in the Arab world has been the Islamic religion. Its sacred book, the Holy Koran, as the word of God revealed to Muhammad in the Arabic tongue, has inspired generations of calligraphars who have sought to reproduce its words with a perfection of style worthy of its contents. Islam has exerted also a more subtle, a more indirect influence on the development of calligraphy: by discouraging the graphic representation of human beings and animals it channeled the creative energies of Muslim artists toward other decorative arts, especially calligraphy. Because the Koran itself has always been the most widely owned and widely read book in the Muslim world, the incentive to produce beautiful transcripts of the work has been powerful and constant. And because the final product was portable and relatively durable, the art acquired status among a people with nomadic origins.

Historians disagree on both the birthplace and the birth date of Arabic writing, but the most widely accepted theory is that it developed from Nabataean, one of the many west Aramaic dialects which served as the international language of the Middle East from about the 4th century B.C. until the 7th century A.D. In that period, however, the vigorous tide of Muslim expansion flooded the Middle East, and the Arabic of the Arabian Peninsula quickly supplanted Aramaic as the lingua franca of the area. So thorough was the Arab conquest of the vast Nabataean empire that today only the “rose-red city” of Petra remains, the silent tomb of a city in the Jordanian desert.

Of the two styles of Nabataean script—Early and Late—the Early style is characterized by its angularity and straight strokes; it is the precursor of kufic script. The Late style developed from commercial need. The Nabataean nation, astride the crossroads of the Orient, required a fast, flowing writing style to record its transactions, and the smooth and cursive naskhi was the natural result. The kufic and naskhi styles were the first to be used by the ancient Arabs. For inscriptions on stones, kufic script proved to be at once the easiest to incise and the most majestic in appearance. The impressive style was carried over to record sacred works on parchment.

As the oldest Arabic script, kufic was used during the early Islamic period for copying the Koran. But the Prophet Muhammad’s scribes themselves favored naskhi when they wrote letters and other everyday communications. One of the scribes, a Companion of the Prophet, named Zaid ibn Thabit, who wrote down the first complete version of the Koran, assisted by three members of Muhammad’s tribe, produced another in naskhi during the Caliphate of ‘Uthman. The latter version superseded, throughout Islam, all earlier transcriptions, which were ordered burned. The revision of ‘Uthman, the only standard text of the Koran up to the present day, was immediately copied and distributed in the Arab centers of Mecca, Damascus, Basra, Kufa and Yemen, where regional variations in script in time evolved into other styles.

During the Umayyad era (661-750) of Damascus, shortly after the death of the Prophet, Arabic calligraphy flourished. Late in the Umayyad period the celebrated Katabah—the Scribes—began the modification of kufic script, which became the form employed today in calligraphic decorations. The Katabah are also credited with the invention of thuluth script. Another famed penman, Khalid ibn al-Hajjaj, who was well known for his elegant copies of the Koran, wrote the 91st and subsequent suras (chapters) of the Koran in letters of gold in the prayer niche of the Prophet’s Mosque in Medina. Unfortunately, this work flaked off bit by bit through the centuries, until today there is nothing left.

In the ‘Abbasid era, which followed the Umayyad dynasty, Vizier Abu ‘All ibn Muqlah (d. 940) achieved great renown by completing the development of kufic from its ancient forms into modern forms, and his elegant new style was copied throughout Islam. After Ibn Muqlah, leadership in the art of calligraphy passed to ‘AH ibn Hilal, better known as Ibn al-Bawwab (”Son of the Doorman”) (d. 1022), who perfected the rules of penmanship and conceived a number of variations of thuluth script. Most calligraphers who followed him carried on his concept of design until the Caliphate fell to the Ottoman Turks and Arab creativity declined in the East.

Three types of contemporary script are thus wholly of Arab origin: kufic, naskhi and thuluth. Of these the kufic style is unquestionably the greatest achievement in Arabic calligraphy. Its beauty and majesty make it ideal for ornamental purposes. With the spread of Arab conquests in the East and West, and the building of new places of worship, palaces and homes, the people felt the need to embellish the structures with ornamental designs. But because Islam discouraged the depiction of the human body, the Arabs turned to other sources of design to decorate their utensils, ceilings and walls. Kufic script supplied artists with another medium of expression, which was and is widely used for the decoration of building spandrels and entablatures.

The Arabs of medieval times used interlaced geometric lines derived from the kufic style to adorn the walls of palaces and mosques, and the name of this decoration—arabesque—is a constant reminder of its cultural origins. Arabic calligraphy forms a central part of the ornamentation of the Moorish palace of Alhambra, in the province of Granada, Spain. This famous citadel, overlooking the snow-capped Sierra Nevada mountain range, and the Great Mosque of Cordoba, also in southern Spain, are monumental examples of decoration which combine kufic and arabesque.

The Moors of Spain enlisted the services of their Christian compatriots to apply arabesque designs. Some of these so-called dhimmis, or protégés of Islam, had no knowledge of Arabic and made designs in kufic script without the slightest understanding of what they were writing. As a result, some old Andalusian vases exist today with ornamental inscriptions which make no sense whatsoever. The letters were merely strung together by an artist intent on creating something beautiful, rather than meaningful.

It was during the 17th century, under the Ottoman Empire, that Arabic calligraphy attained its highest development. The Ottoman sultans who acceded to the Caliphate showed high regard for their court calligraphers who, among other commissions, executed the royal insignia. Called the “Imperial Monogram,” it consisted of tiny, exquisite interlaced writing in the thuluth script, denoting the names of the reigning sultan and his father. The monogram was stamped on imperial orders and royal decrees, and appeared on coins of the realm in the same way that, elsewhere, a monarch’s likeness is used. Similar monograms are still in use in Iran today by ordinary citizens.

Two great 17th-century Turkish artists—al-Hafiz Osman and Mustafa Rakim—are especially worthy of mention. Osman received fame for his naskhi writings and for the many copies of the Koran which he penned in ink and gilt. Mustafa Rakim rebelled against the lifeless conventionalism which characterized much Arabic calligraphy up to his time. He was always seeking ways to bring a more dynamic beauty to the art, even to the extent of sometimes drawing his characters to resemble the form or features of a woman. The suggestion of a tall figure could be seen in his alif (ﺍ), the letter in Arabic which corresponds to the letter “A” in the Roman alphabet. His ‘ain (ﻉ) was often drawn to resemble a provocative arched eyebrow.

Happily, Rakim was able to enjoy the appreciation and admiration of his contemporaries. It is on record that Sultan Mahmud II used to stand before him, as a pupil before his teacher, holding his inkstand while the master drew. It is not surprising that the sultan should show such admiration, for he himself was a noted penman—an expert who recognized expert performance.

The Ottomans, however, were not content merely to improve the types of script which they inherited from the Arabs. They also added to the calligraphers’ repertoire the dizaani script, with its two variants, and the ruq’ah script which, because of its stenographic simplicity, is now used by most Arabs for their everyday writing.

The use of Arabic script continued in Turkey until the last days of its Ottoman rulers, but lost status with the demise of the Empire at the end of World War I. During the presidency of Kemal Atatiirk, father of modern Turkey, Arabic characters were replaced by the Roman alphabet, slightly modified, which continues in use today. The magnificent calligraphic legacy of the scribes of former times can still be seen in the mosques, museums and palaces of Istanbul, and even now calligraphers throughout the Middle East regard Istanbul as the spiritual home of their art.

When the great days of Ottoman calligraphy passed, Egypt fell heir to the role of protector and preserver of the art of Arabic writing. In 1921, King Fuad I called the famous Turkish calligrapher, Muhammad ‘Abd al-’Aziz ar-Rifa’i to Cairo, where he transcribed the Koran and gilded the result. Soon afterward King Fuad founded a school to pass on the learning and artistry of the finest calligraphers of our time. This school is still in existence. Urdu, Kurdish and Persian are among the languages which still use an Arabic script, even though genetically they are more closely related to English than they are to Arabic. Yet there is little likelihood that these language groups, or the Arabs, will exchange their writing system for the Roman alphabet, though this has often been urged for the sake of uniformity, simplicity and adaptability to printing devices such as typewriters. With four forms possible for each of the 28 letters of the Arabic alphabet, any mechanical means of printing is relatively costly and complicated. But cultural as well as religious pressures argue against the adoption of any such system. Not only is the Holy Koran written with a script which is, for all practical purposes, the same as that used in daily life, but the vast treasury of Arabic poetry, which every Arab reveres, is inseparably associated with the script in which it was originally written.

This article appeared on pages 1-7 of the July/August 1964 print edition of Saudi Aramco World.

THE THULUTH AND NASKH MASHQS OF MEHMED ŞEVKI EFENDI

THE THULUTH AND NASKH MASHQS OF MEHMED ŞEVKI EFENDI
prepared by Mohammed Tamimi
Istanbul, 1999 (in Arabic, preface in English and Turkish)

The exercise book prepared by calligrapher Mehmed Şevki Efendi (1829-1887) for the thuluth and naskh calligraphic:sfj useful tool for those who wish to upgrade their sfcij This publication will be followed by exercise booji other styles of calligraphy.

ISBN 92-9063-087-6

Source: http://www.ircica.org/

OTTOMAN ARCHIVES

OTTOMAN ARCHIVES
prepared by Necati Aktaş, İsmet Binark;
translated by Salih Sadawi Salih;
edited and preface by Ekmeleddin İhsanoğlu,
published in cooperation with the University of Jordan, Centre for Archives and Manuscripts,
Amman, 1986 (in Arabic)

This book contains a brief history of the Ottoman Archives, a description of the present classification systems used in the archives, explanations of archival regulations and procedures of research.
Out of stock (available on CD-ROM)

The Turkish National Library, Ankara/ Turkey

The Turkish National Library is one of the youngest national library in the world. The works of foundation was laid in a small office in the Ministry of National Education,Directorate of Publications on April 15,1946 and a collection of 8000 works were accumulated in a short time. On April 1,1947 the library was temporarily moved to another building and during this period the collection reached 60,000. The building in the above picture was allocated in order to put the collection into service and the TNL was opened to users on August 16,1948. With the enactment of the Establishment Law on March 29,1950, the TNL assumed a legal identity. Foundation of a Bibliographical Institute working under the TNL was ensured the “Supplementary Law to the Establishment Law of the Turkish National Library “dated May 18,1955. Considering that the first building would not meet the future needs, planning of a new building was started in 1965. The construction work began after a long period of planning during 1965-73, and the building was completed in 1982. The TNL started serving its users in the new building on August 5,1983 The Library is built on a space of 39.000 square meters, and is large enough to enable the addition of new modules. The TNL building consisting of three modular blocks, shelters the administrative offices, general and special purpose reading rooms, group study rooms, staff rooms, study rooms for fine arts, and ventilated stores equipped with fire alarm systems. Here are also an exhibition hall and two multi-purpose meeting and concert halls. New activities have been initiated in the new building including Data
Processing Center, Talking Books Department, Atatürk Documentation Center and Biography Archive, Map Room, Microfilm Archive, fully equipped Printing House using off-set printing techniques Microfilm and Photography Laboratory.

Collected catalogue of Printed Works of Turkey, Arabic Lettered Turkish Works (1729-1928)

Up till now five volumes have been published by the presidency of National library and preparations continue for volume VI.

Türkiye Basmaları Toplu Kataloğu Arap Harfli Türkçe Eserler (Collected catalogue of Printed Works of Turkey Arabic lettered Turkish Works) 1729-1928 Vol. I, Part I (A-Ali el Karî ) Ankara 1990

Türkiye Basmaları Toplu Kataloğu Arap Harfli Türkçe Eserler (Collected catalogue of Printed Works of Turkey Arabic Lettered Turkish Works) 1729-1928 Vol. I, Part 2 (Ali Kâzım Aznavur) Ankara 1990

Catalogue of Manuscripts of National Library

Publishing has started in 1987 under the name of Milli Kütüphane Yazmalar Kataloğu (Catalogue of Manuscripts in National Library). Initial corrections of volume VI named Milli Kütüphane Divanlar Kataloğu (Catalogue of the manuscripts of collected Poems in National Library) has been completed and preparations are going on.

Volume I: (General topics, Metaphysics, Secret Sciences) Ankara 1987

Volume II: (Secret Sciences, Psychology, Logic, Philosophy) Ankara 1988

Volume III: (The Religion of Islam, Sciences related with Koran, Commentary (for Koran)) Ankara 1992

Volume IV: (The sayings of Prophet Muhammad) Ankara 1994

Volume V: ( Religious precepts and study of Koran,Akaid ve Kelam) Ankara 1997

Collected Catalogue of Manuscripts of Turkey

National Library is responsible for specifying the bibliographical identities and publishing catalogues; of the manuscripts existing in libraries and museums connected to Ministry of Culture firstly and later on, those existing in the libraries of some state institutions and some persons.

The following activities have been completed within the scope of the project being implemented since 1978:

1- TÜYATOK 1- The first catalogue covers the manuscripts in the libraries of; Atatürks Mausoleum (16 works, Presidency of the Republic (34 works),Turkish Grand National Assembly of Turkey (104 works) and Public Library of Adıyaman Province (132 works). In
this volume there are bibliographical introduction of totally 286 manuscripts /pamphlets. (Ankara 1979).

2- TÜYATOK 2: The Second catalogue includes the manuscripts belonging to the Public Libraries of Giresun, Ordu and Rize provinces. In this volume there is bibliographical introduction of totally 619 manuscripts/pamphlets.

3- TÜYATOK 3 (34/I): In this catalogue that covers the books belonging to Istanbul Süleymaniye Library - Ali Nihat Tarlan Kolleksiyonu (Collection of Ali Nihat Tarlan) there are bibliographical introduction of 425 manuscripts in total (Ankara 1981).

4- TÜYATOK 4-8 (07/l-V) : This catalogue consists of volumes 4, 5, 6, 7, 8 and five separate fascicles and covers manuscripts from the districts and province of Antalya (namely Antalya Province Museum, Alanya District Museum, Akseki Yeğen Mehmet Paşa Library Elmalı and Tekeli District Public Libraries. Totally 4.042 manuscripts / pamphlets are introduced in this catalogue (Istanbul 1982 -1984).

5- TÜYATOK 9 (34/II): İn this catalogue covering the collection Merzifonlu Kara Mustafa Paşa Kolleksiyonu in Istanbul Bayezid State Library totally 467 manuscripts are introduced. (Ankara 1984).

6- TÜYATOK 10-12 (01/I-III): In this catalogue, consisting of 3 values, totally 2592 manuscripts belonging to Public Library and Museum of Adana Province are introduced. (Ankara 1985 - 1986)

7- TÜYATOK 13 (34/III): İn this catalogue (volume 13) that covers the manuscripts in the collection, Amca Zade Hüzeyin Paşa ve Hekimbaşı Musa Nazif Efendi Kolleksiyonu in İstanbul Süleymaniye Library totally 630 manuscripts are introduced (Ankara 1987).

8- TÜYATOK 14-18 (05/I-V): It was foreseen to publish this catalogue in five volumes, in the published first four volumes (14-05/I, 15-05/II, 16-05/III and 17-05/IV) namely, Amasya İl Halk Kütüphanesi Yazmaları Kataloğu(Catalogue of Manuscripts in the Public Library of Amasya Province), totally 2994 works / pamphlets are introduced. (Istanbul 1990 -1995). By the last fifth volume (TÜYATOK 18-05 / V) which is being published at the printing house of Faculty of Literature Istanbul University 1190 more books / pamphlets will be introduced.

9- TÜYATOK 19 (34/IV): This catalogue, in which 1155 works / pamphlets are introduced, covers the manuscripts in the collection Mustafa Aşir Efendi Koleksiyonu in İstanbul Süleymaniye Library (Ankara -Printing house of National Library, 1994).

10- TÜYATOK 20 (03): In this volume published under the name of Afyon ili Yazmaları (Manuscripts of Afyon Province) totally 1952 works / pamphlets, (1938 works from Afyon Gedik Ahmet Paşa Public Library 12 works from Afyon Province Museum, 2 works from Dinar District Public Library) are introduced under 1185 principal titles (with catalogue serial numbers) (Ankara, Printing house of National Library 1996).

11- TÜYATOK 21 (10): In this catalogue, published under the name of Balıkesir İli Yazmaları Kataloğu (catalogue of the Manuscripts of Balıkesir Province) totally 2715 works / pamphlets i.e 2439 works in Balıkesir Province Public Library, 185 works in Dursun Bey District Public Library, 91 works in Edremit. District Public Library, are in traduced under 1246 principal titles. (With catalogue serious numbers) (Ankara, Printing-house of National Library, 1997).

12- TÜYATOK 22 (18) : In this catalogue published under the name of “Çankırı İl Halk Kütüphanesi Yazmaları kataloğu” (Catalogue of the Manuscripts in Çankırı Province Public Library), totally 1076 works / pamphlets are introduced under 683 principal titles. (Ankara, Printing-house of National Library, 1998).

13- TÜYATOK 23 (32) (Ankara, Printing House of National Library, 2000).

14- TÜYATOK 24 (15) (Ankara, Printing House of National Library, 2000).

Valuable manuscripts, previously in the province and district Libraries of Isparta and Burdur and later handed over to Konya Bölge Yazmaları Kütüphanesi (Library of Regional Manuscripts in Konya) in 1994 are catalogued within the scope of TÜYATOK and published under the names of Türkiye Yazmaları Toplu Kataloğu Burdur I, II and Türkiye Yazmaları Toplu Kataloğu Isparta (Collected catalogue of Manuscrupts of Turkey, Burdur I, II and Collected catalogue of Manuscripts of Turkey, Isparta). These catalogues were published within the scope of activities related with Osmanlı Bilim ve Kültür Mirasının 700. Yıldönümü Anma Etkinlikleri i.e Activities for Commemoration of the 700th Anniversary of Ottoman Empire´s Cultural Inheritance). The content of the catalogues covers the following works.

1687 volumes of manuscripts and 3100 books / pamphlets in Burdur Province Public Library,
795 volumes of manuscripts and 1263 books / pamphlets in Isparta Halil Hamit Paşa Public Library,
474 volumes of manuscripts and 1080 books / pamphlets in Uluborlu District Alaaddin Keykubat Public Library.
247 volumes of manuscripts and 516 books / pamphlets in Yalvaç District Ali Rıza Efendi Public Library,
109 volumes of manuscripts and 260 books / pamphlets in Şarkikaraağaç District Public Library,
3 volumes of manuscripts and 11 books / pamphlets in Senirkent District Public Library.
1 volume of manuscript and one book / pamphlet in Aydoğmuş District Public Library.

All these catalogues cover totally 3316 volumes of manuscripts, 6231 books / pamphlets and 3594 principal titles.

Contact

Milli Kütüphane Baskanligi
Bahcelievler son durak 06490
Ankara/Turkey
Tel : + 90 312 222 41 48 / + 90 312 222 38 12
PBX : + 90 312 212 62 00
Fax : + 90 312 223 04 51

Dar al-Kutub al-Misriyya (Egyptian National Library), Cairo/Egypt

The manuscript collection in Dar al-Kutub is regarded as one of the largest and most important in the world. The total number of manuscripts in this library are 50,755 out of which 47,065 are in Arabic, 996 in Persian and 2,150 in Turkish. It contains priceless and rare manuscripts from the Islamic heritage, especially from the first four centuries of hijra, as well as extremely rare illustrated manuscripts unmatched anywhere else in the world. There is a high proportion of manuscripts copied in the early centuries of Islam. It holds two of the earliest dated Qur’anic manuscripts dating from dating 102 AH / 720 CE and 107 AH / 725 CE.

Dar al-Kutub has 50,755 manuscripts from which 47,065 are in Arabic, 996 in Persian and 2150 in Turkish. The manuscripts cover nearly all subjects. A complete reference of catalogue of the manuscripts can be seen in:

[1] G. Roper (ed.), World Survey Of Islamic Manuscripts, 1992, Volume I, Al-Furqan Islamic Heritage Foundation, London, p.p. 212-218.

[2] B. Moritz, Arabic Palaeography: A Collection Of Arabic Texts From The First Century Of The Hidjra Till The Year 1000, 1905, Cairo, See Pl. 31-34 and Pl. 1-12 for 102 AH / 720 CE and 107 AH / 725 CE, respectively.

[3] T. W. Arnold & A. Grohmann, The Islamic Book: A Contribution To Its Art And History From The VII-XVIII Century, 1929, The Pegasus Press, p. 22.

Âstan-i Quds-i Razavi Library, Mashhad, Iran

This library has one of the oldest (established in 861 AH/1457 CE) collection of Islamic manuscripts in the Muslim world and the most important in Iran.It has about 29,000 manuscripts in Arabic, Persian and Turkish. Of the 29,000 manuscripts it possess, 11,000 are manuscripts of the Qur’an, thus making it the largest Qur’anic manuscript collection in the world. It is also important in that it contains a large number of magnificent, old and illuminated Qur’anic manuscripts, including several old Kufic Qur’anic manuscripts written on deer skin, other with marvellous illuminations from 3rd century hijra (9th century CE) onwards, and some written by famous calligraphers. The manuscripts are catalogued in various publication as can be seen in the reference below.

[1] G. Roper (ed.), World Survey Of Islamic Manuscripts, 1992, Volume I, Al-Furqan Islamic Heritage Foundation, London, pp. 481-486.

Islamic Museum of the Temple Mount

This museum was established in 1923 by the Islamic Legal Council in Palestine. The manuscript collection of the Islamic Museum consists entirely of masahif of the Qur’an, numbering 644, donated over centuries to Al-Aqsa Mosque and the Dome of the Rock. Some were presented by rulers and private individuals, and others have been donated by such Palestinian cities as Hebron and Nablus.

The Qur’anic manuscripts vary in type, age and size. Many are rab`at (i.e., they were copied in thirty fascicles and stored in a chest, or rab`a). The oldest is Kufic, from the end of the second century after hijra, while the most recent is a copy from the thirteenth century after hijra. Sizes range from 16 x 11.5 cm. to the massive second volume of the Qur’an of the Mamluk Sultan Qa’t Bay (r. 872-901/1468-1496), which measures 110 x 90 cm. and is 15 cm. thick. The majority of the Qur’anic manuscripts are splendidly illuminated and decorated , the exceptions being for the most part the copies of the late Ottoman period.

One of the most important manuscript in this collection is the Kufic copy of the second half of the Qur’an, the transcription of which is attributed to Al-Hasan b. Al-Husayn b. `Ali b. Abi Talib. The pages in this manuscript are beautifully illuminated, with each surah heading bearing its own distinct style of decoration; the covers are also decorated on both sides, but are of the Mamluk period.

The museum also hold an important collection of 883 documents (855 Arabic; 28 persian) from the the 8th/14th century. The complete reference of catalogue of the manuscripts in this museum can be seen in:

[1] G. Roper (ed.), World Survey Of Islamic Manuscripts, 1993, Volume II, Al-Furqan Islamic Heritage Foundation, London, p.p. 579-581.

IRAQI CENTRE FOR MANUSCRIPTS, BAGHDAD/IRAQ

The origins of this library lie in the former manuscript holdings of the Iraqi Museum Library, which were started in 1940, and subsequently became a prime national repository for manuscripts, growing from a total of about 4,000 in 1968 to about 38,000 in 1988. In that year, following the example of the former British Museum Library in London, ownership was transferred to a separate library institution, the Saddam Manuscripts Library. This occupied a group of houses in central Baghdad, near the Museum, and its holdings by 2003 have been variously estimated at about 50,000 (Deeb, Albin and Haley) and about 70,000 (Metenier). This rapid expansion resulted from the incorporation of numerous private and smaller institutional collections throughout the 1980s and 1990s. Numerous catalogues of the manuscripts were published, both before and after the transfer from the Museum; they are listed, with a brief survey of the holdings up to 1992, in the Iraq sections of al-Furqān Foundation’s World Survey of Islamic Manuscripts (written by Dr Naqshabandi himself).

The Iraqi National Library and Archive

The Iraqi National Library and Archive contained 12 million documents. In addition to a substantial book library, it may have had the largest collection of Arabic newspapers in the world. It housed documents from the period of the Hashmenite monarchy (1920-1958) and the Turkish Ottoman period (1534-1918) as well as documents from the Republican period after 1958 to recent times.

Shortly before the invasion in 2003, staff members and Shia clerics removed nearly 40 percent of the book collection and some of the documents for safekeeping. Clerics also had a steel door to one of the collections welded shut and it remained safe.

An entire wing of the library, the Old Library, was almost completely destroyed. This area housed documents from the Republican era, which may have been the reason for the fires.

Also completely destroyed was the microfilm collection of periodicals and other documents. Dr. Saad Eskander, the library’s Director-General, estimates that 60 percent of the Hashmenite documents were destroyed.

A portion of the documents that were removed by the Islamic clerics faced another disaster. These were stored in the basement of the Board of Tourism, which was deliberately flooded by looters.

Dr. Saad B. Eskander, Director General of the Iraq National Library and Archive, has described the events of mid-April, 2003 as a “national disaster beyond imagination.”

Source:http://oi.uchicago.edu/OI/IRAQ/mela/melairaq.html

St. Petersburg branch of The Institute Of Oriental Studies - Russia

The history of the St. Petersburg Branch of the Institute of Oriental Studies can be traced back to 1818, when the Asian Museum of the Imperial Academy of Sciences was founded in St. Petersburg. The Museum was keeping the Eastern antiquities and books of the famous collection of the Russian Tsar Peter the Great. The collection was enhanced during the XIX century through the voluntary donations of the personal libraries and archives of envoys, travellers, statesmen, merchants and scholars. In 1930 the Institute of Oriental studies was organized on the base of the Museum, in 1951 it moved to Moscow, keeping the Branch in Leningrad, now St. Petersburg. From 1996 to 2003 St. Petersburg Branch of the Institute of Oriental Studies was headed by a famous specialist on history of China and Central Asia Professor Evgeny I. Kychanov.

Now the collection includes the manuscripts and early printed books (in total number of 100 000 items in 63 living and dead languages) and is one of 3—4 most prominent libraries on Eastern Studies outside Asia. Here one can find almost all known oriental scripts and a varied range of media, including stone, metal, wood, leather, papyrus, parchment, birch bark, palm leaf and different types of the paper. The most famous among the manuscript holdings in St. Petersburg are the Tunhuang materials which were acquired by S. F. Oldenburg (1863—1934) in the province of Kansu in North-West China during his expedition of 1914—15. The big Central Asian manuscripts collection, formed mainly in the beginning of the XX century, represents the unique texts from Central Asia in Sanskrit, Saka, Tokharian and Tibetan; the Tangut texts from Khara-Khoto etc.

The collection of the documents comprises the material on a great number of subjects like notes of Russian orientalists on history, literature, geography, folklore of the peoples of the East, the documents on their scholarly and social activities, their letters, photographs, plans etc. The archives keep the materials of various research institutions, congresses of orientalists, the Russian Palestine society, the Russian ecclesiastical mission in Beijing, drafts of some works, day-books, descriptions and reports of expeditions. Among the personal archives are materials of such famous scholars as N. Ya. Bichurin, V. A. Zhukovsky, O. M. Kovalevsky, I. P. Minaev, N. A. Nevsky, A. Ye. Snesarev and others. The earliest archives documents date back to the middle of 16th century. The Archives is divided into three categories, 131 collections including 60 thousand files.

Basic research areas. The main field of the scientific activities of St. Petersburg Branch of the Institute of Oriental Studies is the fundamental research of the countries and peoples of Asia and North Africa and the Pacific Region; the study of the ancient and medieval Orient, its history, philology, religion, philosophy, law. The many-sided research of the ancient manuscripts and books of rarity in the Eastern languages of the Institute’s collection. The scholars of the St. Petersburg Branch of the Institute of Oriental Studies have drawn heavily on the primary sources included in the Institution’s collection for their research. Since first days of the history of the Asian Museum the cataloguing of the collection, publication, translation and investigation of the concrete manuscripts and sources are of the primary importance for the Eastern studies and Sinology in St. Petersburg. At the same time there is no strong obligation for the work on the catalogues and texts, and the scholars have a free choice of individual research themes.
There are 9 departments in the Institute, 3 of them put emphasis on Chinese studies: the Department of the Far East, the Department of the Chinese and Central Asian Historiography and the Group of the Far Eastern textual criticism.

Main scientific achievements. The foundation of the unique branches of the science — the Dunhuang studies (L. N. Menshikov, L. I. Chuguevsky); the Tangut studies (N. A. Nevsky, E. I. Kychanov, K. B. Kepping); the Sabaean studies (A. G. Lundin); the Turkish Runes studies (S. G. Kliashtorny); the Kurdish studies (K. K. Kurdoev). The publication of the catalogues of the collections of the Asian Museum — St. Petersburg Branch of the Institute of Oriental Studies in Persian (O. F. Akimushkin); Arabian (A. B. Khalidov); Turkish (L. V. Dmitrieva); Mongolian (A. G. Sazykin); Japanese (V. N. Goregliad) and others languages; the compiling of the Chinese-Russian and the Mongolian-Russian dictionaries. The study of the fundamental problems of the Ancient East (V. V. Struve, I. M. Diakonov, M. A. Dandamaev); the Chinese studies (V. M. Alekseev); the Japanese studies (N. I. Konrad); the Korean studies (M. I. Nikitina, A. F. Trotsevich, D. D. Eliseev); the Sogdian studies (V. A. Livshits). The translation of “The Secret History of Mongols” (S. A. Kozin), of “The Ibn-Fadlan’s Trip” (A. I. Kovalevsky); “The Collection of the Annals” of Rashid Ad-din (O. I. Smirnova). The publication of V. V. Bartold’s works (N. N. Tumanovich).

Recent scientific achievements. The publication of 1—3 volumes of “The History of Caliphate” (in 2001 O. G. Bolshakov was awarded the State Prize of the Russian Federation for this work); the compiling of 4 issues of the reference book “Islam on the Territory of the Former Russian Empire” (S. M. Prozorov); the compiling of the computer catalogue of Tibetan manuscripts and block-prints (L. S. Savitsky); the compiling of the catalogue of the Christian manuscripts in Arabian of St. Petersburg Branch of the Institute of Oriental Studies (Val. V. Polosin, Vl. V. Polosin); the publication of the Eastern Christian apocrypha (E. N. Mescherskaya); the translation of the ancient Chinese treatise “The Discussion on the Salt and Iron” (Yu. L. Kroll).

International cooperation. The Institute has been cooperating with the Scientific Center “Toyo Bunko”, the State University in Kyoto (Japan); Institut de Recherches et d’Etudes sur le Monde Arabe et Musulman (France, Aix-en-Provence); Jewish National Library (Jerusalem); the Publishing House “The Ancient Book” (China); the Bible Society (USA); the Institute of Philology and History, Academia Sinica (Taiwan); the British Library.

Istanbul Turkish and Islamic Arts Museum - Turkey

Turkish and Islamic Works Museum is the first Turkish museum covering the Turkish and Islamic art works wholly. The establishment works that have been started at the end of 19th century have been completed in 1913 and the museum has been opened for visit in the soup kitchen building located in Süleymaniye Mosque complex, which is one of the most important works of Mimar Sinan, with the name of “Evkaf - ı İslamiyet Müzesi” (Islamic Foundations Museum). After the announcement of the republic, it has taken the name “Turkish and Islamic Works Museum”.

The museum has been moved to İbrahim Pasha Palace from the soup kitchen building in 1983. Ibrahim Pasha Palace, which is one of the most important samples of 16th Century Ottoman civil architecture samples is on the stages of the historical hippodrome, the history of which goes back to the Roman Period. This building, the precise construction reason and date are not known, has been presented to İbrahim Pasha by Kanuni Sultan Süleyman in 1520, who would be his grand vizier for 13 years.

İbrahim Pasha Palace, which is claimed to be bigger and more magnificent than Topkapı Palace by the history has been the stage of many weddings, feasts and celebrations as well as rebellions and turmoil and called with the name of İbrahim Pasha after the death of this person in 1536. It has been used by other grand viziers, and had functions such as barracks, embassy palace, register office, Janissary band house, sewing workshop and prison.

The palace located around four big internal courtyards has been made of stone in contrast with many Ottoman civilian buildings, most of which are wooden, therefore it could reach today and has been repaired between the years 1966 - 1983 and has been born again as the new building of Turkish and Islamic Works Museum. The section, which is used as a museum today is the big ceremony hall of the palace and the 2nd courtyard surrounding it, which have been the subject of all Ottoman miniatures of the palace and the gravures and tables of Western artists.

Turkish and Islamic Works Museum has been awarded with the Special Jury Award of Museum of the Year Competition of the European Council in 1984 and with the prize given by European Council - Unesco for its studies for making the children love the culture inheritance.

Turkish and Islamic Works Museum, that is among the important museums of the world in its class has works from almost all periods and all types of Islamic art with its collection exceeding forty thousand works.

Carpet Section

The carpet section forming the richest collection of carpet art in the world had a separate importance and caused the museum’s being famous as a “Carpet Museum” for long years. The museum has the richest carpet collection of not only Turkey, but also the world. Besides rare Seljuk carpets, prayer rugs and animal figured carpets belonging to the 15th centuries and the carpets produced in Anatolia between the 15th - 17th centuries and called as “Holbein Carpet” in the West inspired by the geometrically figured or kufi writing are the most valuable parts of this section.

Turkish and Islamic Works Museum carpet collection that became richer with Iranian and Caucasian carpets and famous Uşak and palace carpet samples is a reference, which the ones carrying out a serious research on the carpet art in the world must apply to.

Hand Writings and Calligraphy Section

Koran - ı Kerims constituting a big part of the writing collection of Turkish and Islamic Works Museum from 7th century to the 20th century come from a large geographical region where Islam has spread over.

It is one of the rare collections, where Emevi, Abbasi, Egypt and Syria Tulunoğulları, Fatımi, Eyyubi, Memluk, Moğol, Türkmen, Seljuk, Timuri, Safavi, Kaçar and Anatolian Principalities and Ottoman calligraphy creations can be observed all together.

Among the hand writings, except Korans, there are books (some of them with pictures) written about various subjects and these draw attention both in terms of their writing styles and their coatings.

Imperial edicts, warrants bearing the signatures of Ottoman sultans, the sultan’s signatures each of which is a work of art, Turkish and Iranian miniature writings make Turkish and Islamic Works Museum one of the most important museums of the world.

Section of Wooden Works

The most important parts of this collection are the samples of Anatolian Wood art of 9th - 10th century.

Besides the unique parts that remained from the Anatolian Seljuks and principalities, mother - of - pearl, ivory, tortoiseshell ornamented wooden works of the Ottoman Period, unique samples of inlaying art, Koran part cases, bookrests, drawers are the interesting parts of this rich collection.

Stone Art Section

Stone works belonging to Emevi, Abbasi, Memluk, Seljuk, Ottoman periods, some of which have motifs and some of which have figures, but all of which have writings have been gathered in Turkish and Islamic Works Museum. Unique and elite samples of stone art of Seljuk Period, grave stones on which hunting scenes, fairy creatures such as sphinx, griphon, dragon, early - period stone works with kufi writings, inscriptions written in different methods that are projections of Ottoman calligraphy art are important both in quality and in quantity.

Section of Ceramic and Glass

In this collection consisting mostly of the ceramic works found in the excavations made between 1908 - 14, the ones from Samarra, Rakka, Tel Halep, Keşan are in the first ranks.

It is possible to see the stages of Early - Islamic Period ceramic art in the collection of Turkish and Islamic Works Museum. The mosaic, mihrab and wall encaustic tile samples belonging to the Anatolian Principalities and Seljuk Periods and the plaster ornaments of Konya Kılıçaslan Palace constitute another important part of the collection. Ottoman encaustic tile and ceramic art samples end with near - period Kütahya and Çanakkale ceramics.

The glass collection starts with the 9th century Islamic glass art samples and includes 15th century Memluk candles, Ottoman period glass art samples.

Metal Art Section

Turkish and Islamic Works Museum Metal Art Collection starting with the unique samples belonging to the Great Seljuk Empire period and mortar, censer, long - spouted ewer, mirror and dirhems constitute an important collection with the door knockers of Cizre Ulu Mosque and 14th century candelabrums ornamented with constellation and planet symbols, which have an important place in Islamic metal art.

Among the Ottoman metal art samples starting from the 16th century and reaching the 19th century, there are silver, brass, tombac (ornamented with valuable stones) crests, candles, rose water cans, censers, washtub / ewer sets.

Ethnography Section

Ethnographic parts collected for long years have found the possibility of being exhibited with the transfer of Turkish and Islamic Works Museum to İbrahim Pasha Palace.

The youngest part of the museum is exhibited in this collection, consisting of carpet - kilim looms collected from various regions of Anatolia, wool painting techniques, public weaaving and ornamenting art samples, clothes in their regional enhancements, house goods, hand arts, hand art instruments, nomad tents exhibited in places special to them.

Address: Ibrahim Pasa Sarayi At Meydani 46, Sultanahmet
Operating days and hours: Closed Mondays / 09.00 - 17.00

The Central al-Awqaf Library, Baghdad

The semi-private al-Awqaf Library, founded in 1920, is the oldest heritage institution in Iraq. It is situated near the Ministry of Health in Baghdad. It contained 45,000 rare printed books of which 6,000 were in the Ottoman script as well as a number of special collections. The staff was able to put 5,250 of 7, 000 in safekeeping, including a collection of Korans.

Spurr’s report does not contain a comprehensive description of the horrible fate of this institution, but the Middle East Library Association has published on its web site an earlier report by University of Chicago graduate student Nabil Al-Tikriti in June 2003 and another report written a year later by the Iraqi archivist Zain Al-Naqshbandi.

On April 13 or 14, 2003, arsonists completely destroyed the library. All of the 45,000 books, including Ottoman manuscripts and a collection of rare medical texts, were burnt, and much of the library’s equipment such as Xerox machines, air conditioners, and bookbinding materials appears to have been looted previously (looting of equipment was the rule for other libraries as well). The 5,250 manuscripts remain undamaged.

The US military bears responsibility for the destruction of another 1,744 manuscripts. These had been removed before the fire and placed under armed guard at the Qadiriyya Mosque complex. Operating under a policy to shoot armed Iraqis on sight, US forces killed the guard on April 13. The al-Awqaf staff returned these manuscripts to the library, now unguarded because of the American \”rules of engagement.\” These manuscripts were either looted or incinerated.

The arson itself bears a particularly suspicious and notorious character in Iraq. According to Al-Tikriti’s report and press accounts at the time, approximately 15 Arab males using an incendiary substance systematically burned the library. Two other men from this group videotaped the arson.

Many Iraqis believe, as the American press has also reported, that the arsonists, based on the dialect they were overheard using, were Kuwaitis. This supposition, however, remains unproven.

No international agency appears to have come to the assistance of this library.

Source:http://oi.uchicago.edu/OI/IRAQ/mela/melairaq.html

MEHMED IZZET EFFENDI: (1841 - 1903)

Mehmed Izzet Effendi was born in Istanbul in 1257 H. We do not know from whom he received his icazet, but he is known to have written a very beautiful Thuluth and Naskhi and to have written the Rik’a script in a very pleasing style peculiar to himself. He taught writing in various schools including Galatasaray Lycee. Two of his books of calligraphy models for students have been published. The inscription on the dome of the German Fountain in Sultanahmet bears his signature. He died in 1320 and was buried in the Yahya Effendi cemetery in Besiktas/Istanbul.




A exercise of divani style by Mehmet Izzet Efendi. Photograph © http://www.hatsanat.org

Mustafa Izzet [Kadiasker] (1801 - 1876)

Mustafa Izzet was born in Tosya in 1216 H. After his father’s death he was sent to Istanbul. Happening to cath the attention of Sultan Mahmud II he was taken into the Saray, where he was trained and educated. He learned Thuluth and Naskhi from the calligrapher Mustafa Vasif Efendi and Ta’Iiq from Yesarizade Mustafa Izzet Effendi. He received an icazet from both his teachers. He had a very fine voice and also practiced music. He was appointed to the Saray imamlik during the reign of Sultan Abdülmecid.

He produced eleven copies of the Qur’an, a number of Delails and En’ams, some two hundred Hilyes and a number of panels in a very fine Naskhi in the style of Hafiz Osman. He was responsible for the large round panels in the Ayasofya Museum.
He had a large number of pupils, and trained some very fine calligraphers including Sefik Bey, Muhsinzade Abdullah, Vahdeti, Abdullah Zühdü, Kayiszade Osman, Arif of Carsamba, Mehmed Hilmi and Ilmi Effendi. He died in 1293 H. and was buried in the graveyard of the Kadiri Dergahi (dervish convent) in Tophane.

A Calligraphy by Kazasker Mustafa İzzet Efendi. Its read: "Falaha hayrun hafizan ve hüve er hamürrahimiyn sadakallahülmuiyn"; "Allah en hayırlı koruyandır. O, merhametlilerin en merhametlisidir"

A Calligraphy by Kazasker Mustafa Izzet Efendi. Its read: Allah, Muhammed, Ali, Fatima, Hasan and Hueseyin (the last for names are members of the prophets blessed family)

Photograph © antikmezat