ARTS: Artuklu Sanat ve Beşeri Bilimler Dergisi

Yazarlar: Özgür ÇETİNTAŞ

Konular:Sanat

Anahtar Kelimeler:Turkish art of calligraphy,School,Style,Thuluth,Naskh,Murakka,Illumination

Özet: Art is a living phenomenon. So we observe that art evolves, that is, it changes towards good or evil. In this sense, the concept of Islam and Sufism in the East and Renaissance movements in Europe can be considered as the biggest breaking points in the history of art. However, among all these great movements, art itself has been in a state of constant change. This change, as with the schools (method) within the art branches, is the progress of the schools with the differences (style) of artists. The emergence of the Turkish calligraphy school was in the 14th century thanks to calligrapher Sheikh Hamdullah from Amasya. Although he is affiliated with Hafız Osman school, the calligrapher who takes him one step further in terms of his style is Mustafa Râkım Efendi, who is accepted as the cornerstone of celi (large) writings in Turkish calligraphy. Calligrapher Hattat İsmâil Zühdî Efendi, whose works we will use in this research, is the brother and first teacher of Calligrapher Mustafa Râkım. This research has been prepared to reveal the style difference between Hattat İsmâil Zühdî Efendi and Laz Hattat Ömer Vasfî Efendi, who have an important place in the history of Turkish Calligraphy, and their contribution to calligraphy. In this way, it is among the aims of this research to discuss what is effective in the development process of Turkish calligraphy, and what small changes in writing can affect. It is also very important to know what to consider when examining a work of calligraphy, and what criteria should be considered when describing a work as beautiful or ugly. In this research, comparisons of two calligraphers who produced works in the same period were compared. The texts used as examples are the sulus-naskh meshk murakkaa preferred as a “curriculum” in the teaching of calligraphy.

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