calligraphy katalog karya pemenang perlombaan khat albaraka turk 2007

7/31/2019 Calligraphy Katalog Karya Pemenang Perlombaan Khat Albaraka Turk 2007

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ALBARAKA TRK HAT YARIMASINDAN SEME ESERLER

SELECTED ART WORK FROMALBARAKA TRK CALLIGRAPHY COMPETITION


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3. Baskstanbul / Mays 2007ISBN 975-005821-6 Tm yayn haklar ALBARAKA TRKe aittir.Tantm amacyla yaplacak ksa alntlar dnda yayncnn yazl izni olmakszn hibir yolla oaltlamaz.

3nd EditionIstanbul/ May 2007ISBN 978-975-00582-3-3 All rights reserved by ALBARAKA TRK.This book may not be reproduced in any manner whatsoever it is without the written permission of the publisher, other than short extracts with the aim of publicization thereof.

ALBARAKA TRK YAYINLARI: 30KLTR YAYINLARI: 5

ALBARAKA TRK PUBLICATIONS: 30CULTURAL PUBLICATIONS: 5Bask-Cilt

Printing-Binding by

Yayn KoordinatrPublishing CoordinatorTemel Hazrolu

TasarmGraphics Design byEkrem ahin

Dizgi-GrafikTypesetting-Graphics Design byTekin Kavcak


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GRDuygu ve dnce l er i n i yaz i l e an l a tmak i nsana zg b i r ey l emdi r .nsanlk tarihine baktmzda da en nemli gelimeler arasnda yaznn icadn

grrz. Ama yaznn icadndan daha da nemli olan, tekml eden insannkendi eser i o l an yaz y ge l i t i rmes i ve yaz n n sa na t boyutunu t mzenginlii ile ortaya koymasdr.

Bizim kltrmzde sanat mutlak sanatkra ulama abasdr. Her ey,grlenin deil, grlmek isteneni anlatma isteinin davurumudur aslnda.ada dnr Roger Garaudynin veciz ekilde dile getirdii gibi: Sanat,grnen ve bi l inen gzel l ikleri kopya etmek dei l , gzle grlemeyenmutlak gzeli aray abasdr.

Hat sanatna gnl verenlerin hat yazsn bir iletiim arac ve ssleme unsuru olmaktankarp, fevkalade zgn bir sanat olarak gelitirdiklerini ve hat sanatnn dnya sanattarihinde nemli bir yer almasn saladklarn grmekteyiz. Medeniyetimizinmaddede mahhaslaan mimari dokusuna rengini ve sesini veren hatlarmz,kendilerini duvarlara nakeden ince zevki ve estetik anlayn yanstan kltr mirasdr.

Kkl medeniyetimizi bir aaca benzetirsek ana dallarn oluturan Osmanl sanatiinde, mimariyi dta brakrsak, en nemli sanat dal Hsn-i Hattr diyebiliriz.

Sizler de dereceye giren eserlerimizde greceksiniz ki, harflerin inci gibi satradizilileri karsnda hayrete dmemek mmkn deildir. Harflerin canllyannda, istifteki yerleri ve durula r da mkemmel bir ahengi yanstyor.Harflerin satra mkemmel dizilii, kalem hareketlerinin kvrakl grenleri hayretedrecek mkemmelliktedir. Dik harflerin canllk, yatay harflerin ise devamllkhissi veren zellii herkesi etkileyebilecek seviyededir.

Albaraka Trk olarak, hat sanatna olan ilgimiz kkl medeniyetimizin nemli birmirasna sahip kma bilinci yannda ekonomik amal kurulularn sosyal sorumluluklarasahip olmas gerektiine olan inancmzdan da kaynaklanmaktadr. Kurumlarn,yalnzca asli alanlarnda yaptklar baarl almalarla gelecee tanabilmesi mmkngzkmemektedir. Faizsiz bankaclk konusunda Trkiyede akla ilk gelen kurum

olmak tabii ki nemlidir ama tek bana yeterli deildir.Albaraka Trk olarak kurumumuz, medeniyet havzamzn kltr birikiminin dirilmesi,deerlendirilmesi, hareket ve eitlilik kazanmas ve nihayet gelitirilmesi iin elindengelen almalar bugne kadar srdrm ve srdrmeye de devam etmektedir. Buerevede gemi y l l a rda bankamz n t e r t i p e t t i i ha t yar masn ,Albaraka Trkn bugne dek hat sanatmza salad desteklerin talandrlmasolarak nitelemek yerinde olacaktr.

Bu almalarmz Albaraka Trkn geleneksel sanatlarmza katksnn talandrlmasolarak telakki eder; sz konusu sanatlarmz ihya ve yaatmak iin gayret gsterenherkesin bu ynde bir ivme, bir yldz olmasn dilerim.

Sayglarmla,

Dr. Adnan Bykdeniz

Genel Mdr

INTRODUCTIONIt is an act peculiar to mankind to express his emotions and thoughts through writing.Considering the history of humankind, we observe the invention of writing among the most

significant developments. However, what is even more noteworthy than the invention ofwriting is mans originating his own style of writing in the course of his progression, wherebyrevealing the dimension of beauty of writing in all his richness.

In our culture art is an endeavour to reach the Absolute Artist. As a matter offact, everything is an outward reflection of not of what is actually seen but theenthusiasm to describe what is desired to be seen. As has been eloquently remarkedby Roger Garaudy, a contemporary thinker, Art is not copying those beautiesthat are witnessed and known but an effort to search for the Absolute Beauty,Who cannot be seen through eyes.

On the other hand, we see that those who have dedicated themselves to calligraphy havepromoted calligraphy from being a means of communication and ornament to being anextraordinarily exclusive art, whereby ensuring it to find a significant niche in the worldshistory of art. Our calligraphs giving their colour and sound to our civilizations architecturalquality exemplified in material are cultural heritages that reflect the delicate pleasure

and aesthetical understanding that paint them on walls. If we compare our deep-rootedcivilization to a tree, we can say that Calligraphy-with the exclusion of architecture -isof the most outstanding arts that make the main branches.

You also will witness in our prize-winning works that one cannot help being amazedagainst the letters having been strung like pearls on lines. Apart from the vividness ofletters, their place and position in the arrangement of letters reflect a perfect harmony.The wonderful arrangement of letters on the line and the elegance of the movements ofthe pen are amazingly excellent. The upright letters vividness and the slant ones qualitythat gives an impression of continuity really inspire beholders.

As Albaraka Turk, our interest in calligraphy originates from our belief that those institutionswith economic targets should also undertake social liabilities apart from the conscienceof supporting an important heritage of our deep-rooted civilization. It does not seemfeasible that institutions could be carried to future by means of their achievements solelyin their actual fields. Of course, it is noteworthy being the first institution in interest-

free banking in Turkey, yet it is not sufficient alone.Our Institution, as Albaraka Turk, has ever been endeavouring with its best for therevivification and evaluation of the cultural accumulation of our civilization districtalong with its gaining motion and variety and ultimately its being promoted. Withinthis frame, it would be appropriate to qualify this Calligraphy Contest, which we haveorganized on occasion of the 20th Anniversary of our Institution, as the crowning ofthe contributions of Albaraka Turk to this art of ours.

Considering our Contest as the crowning of the contributions of Albaraka Turk to ourtraditional arts, I wish everybody that endeavours to revivify and promote our arts bean inspiration and star in this direction.

Best regards,

Dr. Adnan BYKDENZ

General Manager

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Kurn- Kerim Hicazda nazil oldu, Msr da okundu, stanbulda yazld.

Sanat; ilh srlar ve Mutlak Gzeli araytr. Hat sanat; mimari, musiki veedebiyat gibi medeniyetimizi oluturan temel talardan biridir. Mimari ve hat ayndili konuan iki ayr sanat daldr. Ancak, hat sanat mimari ile ayn dili konuansanat olmasna karn, hat sanat temaa edilecek bir mimari olarak bizimMedeniyetimize mnhasr has bir sanattr. Medeniyetimizin yazl bir medeniyetolarak adlandrlmasnn sebebi de hat sanatdr. nk medeniyetimize ait her eseren gzel hat yazlar ile sslenmitir.

Kadme gre hat sanat; Cismani aletlerle meydana getirilen ruhani birhendesedir. Bunun iindir ki, hat sanat, nokta hesabyla oluan harfboylar, kavisleri, meyilleri, satr aralar, istifleri ve kamn kt zerindekimkemmel kvraklnn ortaya koyduu byl hendesesiyle herkesikendisine hayran brakmaktadr.

Albaraka Trk olarak ekonomik bir kurulu olduumuz gereini unutmadan, gerekvaroluun ve gelecee tann kltr ve sanat alannda bir iz, bir niane brakmaktangetiinin bilincindeyiz. Bu erevede, kuruluumuzun 20. yl mnasebetiyle sosyalsorumluluklarmzn bir gerei olarak, hat sanatnn yaatlmas, gelitirilmesi, hatzevkinin tesisi ve zendirilmesi iin; hat sanatna gnl verenleri bir nebze olsuntevik ederek bu sanata yeni eserler kazandrmak ve bunlar yeni kuaklara ulatrmak,bu gzide sanatmza hak ettii alakay salamak amacyla 2005 senesinde bir hatyarmas tertip etmitik.

Yarmann, aslnda ulusal lekte planlanm olmasna ramen, organizasyonayurtdndan da ilgi muazzam oldu. Cel Sls, Sls, Sls-Nesh, Cel Talk ve CelDivn olmak zere 5 dalda dzenlenen msabakaya Trkiyeden 110, yurtdndan ise

8 lkeden 44 eser olmak zere toplam 154 eser katlmt. Bu eserlerden Albaraka Trkzel dl de dahil 17 eser Jri yeleri tarafndan dereceye layk grlm ve 23 eserde Tevik dl almaya hak kazanmt.

Bu vesileyle deerli stad hattatlardan oluan jri yelerine, yarmaya katlan tmha t t a t l a r a ve d l kazanan l a r a t eb r i k ve k r an l a r m z suna r z .

imdi sizlere Albaraka Trk Hat Yarmasnda dl alm bu eserlerin bir ksmntezhiple sslenmi olarak sunuyoruz.

Daha mutlu ve daha gzel yarnlarda bulumak dileiyle...

Sayglarmzla,

Temel HazroluYayn Koordinatr

The Holy Quran was revealed in the Hejaz, recited in Egypt and written in Istanbul.

Art is searching for Divine Secrets and the Absolute Beauty. The Art of Calligraphy is one of thepillars that form our Civilization like architecture, music and literature. Architecture and Calligraphyare two separate branches of art that speak the same language. Nevertheless, although the Art ofCalligraphy speaks the same language as the Art of Architecture, the Art of Calligraphy is an artpeculiar to our Civilization as architecture to be observed. As a matter of fact, the reason why ourCivilization is called a written civilization is the Art of Calligraphy. For every work of art pertainingto our Civilization is ornamented with the best calligraphs.

According to Kadim, the Art of Calligraphy is a spiritual geometry realized withmaterial tools. It is for this reason that with sizes of letters formed with the calculationof dots, curved lines, slants, spaces between lines, arrangements and the fascinatinggeometry depicted with the reed-pen on paper with its wonderful elegance, Art ofCalligraphy amazes every beholder.

As Albaraka Turk, we are aware-without neglecting the fact that we are a financeinstitution-of the fact that the real existence and conveyance to future can be attainedthrough achievement of traces and signs in the fields of culture and art. Within this frame,as a requirement of our social liabilities on occasion of the 20th anniversary of ourestablishment in 2005, we have organized this Calligraphy Contest so that the Art ofCalligraphy can be advanced and promoted; that pleasure in calligraphy can be establishedand encouraged; that the volunteers in the Art of Calligraphy are inspired with a view toearning this art new works whereby carrying them to future generations; and that thisexclusive art of ours regains due interest.

Although the Contest was in the first place planned within home, the interest fromabroad therein was huge. The contest, which was organized in 5 branches: Jali Thuluth,Thuluth, Thuluth-Naskh, Jali Deewani and Jali Taliq, drew totally 154 works: 110 from

Turkey and 44 from 8 foreign countries. 17- inclusive of the Albaraka Turk SpecialPrize-of the calligraphs were deemed to merit prizes by the Jury, while 23 thereofreceived Mentions.

On this occasion, we should feel obliged to thank the Jury, composed of esteemed Masters of Calligraphyand all the calligrapher who participated in the contest; also we thank and congratulate the prize-winners.

Now we would like to offer our several calligraphies with tezhip ornamented which wonprizes in Albaraka Trk Calligraphy Competition.

Looking forward to meeting on happier and better days in future

Best regards,

Temel HazroluPublishing Coordinator

NSZ FOREWORD

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HAT SANATINA DAR ABOUT CALLIGRAPHYHat sanat, kam kalem ve is mrekkebinin ibirlii ile insan elinin vcude getirdiibir izgiler saltanatdr. Basit izgilerin bylesine iirlemesi, dorusu olur ey deildirve slamn devam edegelen bir mucizesidir. Dnyada bu kadar eitli yaz varken vehepsi de kendine gre gzel yazlabiliyorken, nasl olmu da sadece slam yazs

gerekten benzeri bulunmayan bir sanat haline gelivermi? Onun sahip olduu bubyleyici estetik nereden douyor? Bunlarn cevabn Hz.Alinin hikmet dolu usznde bulabiliriz: Yaz, stadn retiinde gizlidir, ok yazmakla kvam bulur;slam dini zere olmakla devam eder. Hattn, asrlar boyunca sanat lemine hkmediinde,ite bu manevi kudretinin rol ok byktr. Ayrca, harflerin bal bana kvraklve birbirlerine bitimekle kazandklar ekil zenginlii, hele ayn ibarenin muhtelifistiflerle yazlabilmesi, slam yazsna sanatn ilk art olan sonsuzluk ve yenilik kapsndaima ak brakmtr. Bir harf, yalnz olarak, icap ederse birka trl yazlabildiigibi; kelimenin banda, ortasnda ve sonunda bulunuuna gre bnye deiikliineuramakla pek ok ekil zenginlii kazanr. Bir hayli hat eidi olduu da gz nnealnrsa, bu szlerimizin manas daha iyi anlalr.

Bu mucizevi yazya hak ettii emei vermek Osmanl Trklerine nasip olmutur. Okadar ki, Arab yazs gibi dar mana tayan bir tarif yerine slam yazs demeyitercih etmeseydik ve mutlaka bir millete ml etmek gayretinde olsaydk, buna Trkyazs dememiz, gerei ifade ederdi. Zira, bir da kadar yksek ve geni olan buyaz sistemini hangi etek noktasndan alp ahikasna kardmz, insafla bakanherkes kabul ve tasdik eder. Bir baka deyile, hat, eer Osmanl Trknn elinegemeseydi hsn-i hat (gzel yaz) olmak yolunun balangcnda boynu bkk kalrd.nk slami Trklmz, tarih boyunca, o yaz gzelini canan gibi sevmi, elindenbrakmamtr.

Belli kalptaki byk ve kk harflerden meydana gelen Latin alfabesinde, slamyazsndaki estetik kabiliyetin biraz olsun bulunabileceini dnmek bile yers izdir.Ayn ekilde ok zengin, fakat birlemeyen gruplardan meydana gelen Uzak Dou(in, Japon) alfabe sistemleri de hoa giden grntlerine ramen, slm yazskarsnda ok yavan kalr. Nihayet, Mslman leminin minyatr dnda tasvire karilgi duymay, resim zevkinin de yaz sanatnda tecellisine vesile olmutur. Hemokunup ibret alnmak, hem de mcerret (abstre) bir resim tablosu gibi duvara aslp

seyredilmek te bu, sadece slam yazsna hastr.Gzel yaz, okunabilendir mealinde Arapa bir sz vardr. Gerekten slamiyetinilk asrlarnda gzel yaz mefhumu bu manaya alnyordu. Yalnz okuma yazmavastas olarak kullanlan hat, Emevi ve Abbasi devirlerinin birok hattatndan sonra,bilhassa bn Mukle (.940) ve bnl-Bevvb (.1022) eliyle sanat hline gelince,slamiyetin yayld yerlerde de bunun tesirleri grld. Nihayet Ykutl-Mustasm(.1298), Abbasi saltanat esnasnda Badatta topluca aklm- sitte (alt yaz) adverilen ve daha nceden ekillenmi olan sls, nesih, muhakkak, reyhan, tevk,rka nevi lerini btn kaideleriyle tamamlayp yazmay baard .

Ykutun yetitirdii ve aralarnda Trklerin de bulunduu hat stadlar, onunslubunu btn slam lkelerine yaydlar.

Aradan iki asra yakn bir zaman geti. Osmanl Trkleri, Anadolunun bykbir ksmndan sonra stanbulu fethederek, devleti yalnz askeri ve siyasibakmdan deil, kltr ve sanat cihetinden de ycelie eritirmilerdi.

Calligraphy is an art of lines produced by man with his hand in cooperation with a reed-pen and soot-ink. It is really incredible that simple lines are poeticised in such manner,having ever been a miracle of Islam. How is it that, while there have been so manykinds of writings in the world and they can be written in elegant styles within theircharacters, the Islamic Writing has turned out to be a peerless, exclusive art? Where didits fascinating aesthetic originate? In fact, we can find the reply in Caliph Alis followingsagacious statement: Writing is secret in the Masters instruction; it becomes perfectthrough much practice and lasts in obedience to the Religion of Islam. As a matter offact, the role of this spiritual might of calligraphy is very great on its prevalence in theworld of arts. What is more, the unique elegance of letters and the richness of form theygain through as they join with each other and, further, the fact that the same expressioncan be written in various orders have ever ensured open the door of endlessness andrenovation, the first condition of art, on behalf of the Islamic writing. As a letter canbe written in various styles alone if so needed, the fact that it undergoes changes in itselfaccording to its position in the word - that is at the beginning, in the middle or at theend it earns a great variety of forms. Given that there exist a great number of stylesof calligraphy, the meaning of our words is understood better.

To give this miraculous writing its due labour fell in the lot of Ottoman Turks, to suchan extent that, if we had not preferred to call it Islamic Writing instead of ArabicWriting, which is quite a narrow definition, and yet if had attempted to ascribe it to anation necessarily, it would have reflected a truth that we named it Turkish Writing.For any equitable person agrees and confirms from which point of skirt we got andcarried to the climax this writing system, which is as high and wide as a mountain. Inother words, if Calligraphy had not been transferred to Ottoman Turks, it would havebeen sad at the beginning of the way of being Husn al-Hatt (Elegant Writing) becauseour Islamic Turkism has ever loved this graceful writing like his beloved one throughouthistory and has never given it up.

It is inept to think that there would be-even a little of-the aesthetic quality of theIslamic Writing in the Latin Alphabet, which is composed of small and capital lettersin certain shape. Likewise, in spite of the their elegant appearances, the alphabeticsystems of the Far East (China, Japan, ), which are made up of groups that are veryrich but do not join, are incomparable to the Islamic Writing. Eventually, the fact thatthe Islamic world was not interested in depiction other than miniatures made thepleasure of illustration reflected in the art of writing as well. Being read and taken anadmonition from and hung on the wall and admired as an abstract tableau This is

uniquely peculiar to the Islamic Writing.There is an Arabic saying meaning, Elegant writing is the one that can be read. In fact, theconcept of elegant writing was attributed this meaning in the first centuries of Islam. WhenCalligraphy, which had been used as a means of reading and writing, turned out to be an artafter many calligraphers of Amawid and Abbasid periods, especially through the hands of Ibnal-Muqlah (d. 940) and Ibn al-Bawwab (d. 1022), the influences thereof were also observedin places where Islam had spread. Eventually, during the Abbasid sovereignty, Yaqut al-Mustasimi (d. 1298) managed in Baghdad to complete and write the writing system, whichwas collectively called Aqlam al-Sittah (Six Writings) and which had been earlier formed, i.e.Thuluth, Naskh, Muhaqqaq, Rayhani, Tawqih and Riqah, with all the rules thereof.

The masters of calligraphy raised by Yaqut, among whom were some Turks,spread his style all over the Islamic countries.

Almost two centuries passed. Ottoman Turks took Istanbul after the conquestof a large part of Asia Minor, thus having advanced the State to the peak notonly from military and political aspects but also cultural and artistic aspects.

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Amasyal hattatlardan eyh Hamdullah (1429-1520), nceleri Ykut slubunu engzel ve mkemmel biimiyle yrtyorken, hamisi ve talebesi Sultan II. Byezidintevik ve tavsiyesi zerine, Ykutun eserlerini bir estetik kymetlendirmeye tabi tuttuve kendi sanat zevkini de katarak, bunlardan yeni bir tarz karmay baard. Tahminen

1485 ylnda doan bu eyh Hamdullah slubu ile Osmanl-Trk yaz sanatndaYkut devri kapanyordu. Nitekim, Kanni Sultan Sleyman anda bu tavr en parlakbiimiyle yeniden canlandran Ahmed Karahisrnin (.1556) yaz anlay, kendisindensonra unutulmu; eyh Hamdullah yoluna kar duramamtr. Ancak KarahisrMektebinin, cel hattnda, zamanna gre, eyh vadisinden daha baarl olduumuhakkaktr.

eyh Hamdullah devrinde, Ykut yolu ile intikal eden alt cins yazdan sls ve nesih,Trk zevkine ok uygun geldii iin sratle yaylm; eski devirden farkl olarak,Kurn- Kermin yazlmasnda bilhassa nesih hatt kullanlmaya balanmtr. Bunamukabil, muhakkak ve reyhannin mdevver (yuvarlak) harflerinin azl ve genioluu yznden benimsenmediini, yava yava unutulduunu, ancak elin melekesiniartrmak iin eski hat stadlarna takliden yazlan murakkaalarda rastlandnsyleyebiliriz. Bir istisna olarak, muhakkak hattyla Besmele yazlmas deti, zamanmza

kadar devam edegelmitir. Alt yaznn dier ikisinden biri olan rka, daha cazip birslba brnerek hatt- icaze adyla bilhassa icazetnamelerde yer alm, tevki iseunutulmutur.

eyh Hamdullahtan sonra yetienler, hep onun gibi yazmak gayretiyle hareket ettiler.O kadar ki, naml hattatlarn muvaffakiyeti eyh gibi yazd veya eyh-i Sn(kinci eyh Hamdullah) szleriyle anlr olmutu. Bu hl 150 yl akn bir zamandevam etti.

Nihyet, XVII. asrn ikinci yarsnda stanbulun sanat ufku yeniden bir hat nuruylaaydnland. Hfz Osman (1642-1698) adndaki bu hat dehas, vaktiyle eyh HamdullahnYkuttan yer yer seip toplad yaz gzelliini bir elemeye tabi tuttu ve eskisine gredaha da safiyet kazanan, kendine has bir iveyi ortaya koyarak, o vadide yazmayabalad. Artk eyh slbu, yerini Hfz Osmannkine terk ediyordu. Hat sanatnda bustadn at r btn hametiyle srp giderken, ondan bir asr sonra gelen smailZhd (.1806) ve kardei Mustafa Rkm (1758-1826), Hfz Osmann en mkemmelyazlarndan, ayr zamanlarda ve kendi zevklerine gre birer ive kardlar, en gzelharf ve tavrlar elde etmesini bildiler.

O devre kadar sls hatt ile stadane eserler verildii hlde, onun daha kaln ekliolan cel yazsnda estetik ller bir trl salanamyor ve ortaya kt cel rneklerikyordu. Hfz Osmann bile yazd cel yazlar onun anna layk deildi ama, odevirde bu kadar yazlabiliyordu. Ancak Mustafa Rkm, sls ve nesih yazlarndaolduu gibi, cel slsde de gerek harf, gerekse istif mkemmeliyeti ile gelmi gemibtn hat sluplarnn zirvesine kt; Hfz Osman anlayn slsden celye aktarmasnbildi. Mustafa Rkm, padiah turalarn da slah ederek, onlar gzelliinin sonnoktasna getirip brakmtr.

While Sheik Hamdullah (1429-1520), of the Calligraphers of Amasya, was first performingYaquts Style in its best and perfect form, upon the inspiration and advice of Sultan BayezidII, the sponsor and a student of his, he subjected the works of Yaqut to an aestheticevaluation and-also adding his own artistic pleasure thereto-managed to fashion a newstyle therefrom. With that Style of Sheik Hamdullah, which emerged in circa 1485, theAge of Yaqut in the Ottoman- Turkish Art of Writing came to an end. As a matter of fact,the writing concept of Ahmed of Karahisar (d. 1556), who revivified that style in itsbrightest form during the reigning era of Sultan Sulaiman the Legislator, was forgottenafter his death; thus having failed to stand against the pathway of Sheik Hamdullah.However, it is certain that the School of Ahmed Karahisar proved to be more successfulto that of the Valley of Sheik in Style of Cali at the time.

In the age of Sheik Hamdullah, Thuluth and Naskh, of the six styles of writing, whichwere transferred by way of Yaqut, spread fast because they very much suited Turkishpleasure; and different from the earlier age, particularly the Calligraphy of Naskh beganto be used in the writing of the Noble Koran. On the other hand, we can say that the Stylesof Muhaqqaq and Rayhani were not adopted because of the scarcity of round letters thereinand their being wide and that they were forgotten gradually; nevertheless, they are seenin such Muraqqaahs that were written in imitation of former masters of calligraphy witha view to improving the dexterity of the hand. As an exception, the tradition of writing the

Formula of Basmalah in the Style of Muhaqqaq has survived to our day. While the Styleof Riqah, of the two other ones of the six styles of writing, became more attractive a formand was particularly used Ijazatnamahs (Diplomas) under the title of Hatt al-Ijazah whileTawqih was forgotten.

Those who were trained after Sheik Hamdullah were always eager to write like him tosuch a degree that the achievement of famous calligraphers began to be mentioned asHe wrote like Sheik or Hes Sheik al-Thani (Sheik Hamdullah the Second), whichcase continued for over 150 years.

Eventually, in the second half of the XVII. century, the horizon of art of Istanbul wasillumined with a new light of calligraphy. This genius of calligraphy called Hafiz Osman(1642-1698) scrutinized the elegant writing Sheik Hamdullah had earlier occasionallyselected from Yaqut and developed an original style that was more refined than theformer one and began to write in that valley. From then on the Style of Sheik began to

be replaced by that of Hafiz Osman. While the path opened by that Master in the Artof Calligraphy was underway in all its glory, Ismail Zuhdi (d. 1806) and his brotherMustafa Raqim (1758-1826), whocame a century after him,originated separate stylesfrom the most graceful writings of Hafiz Osman at different times after their ownpleasure, producing the most elegant letters and styles therein.

Although masterly works of calligraphy had been produced before that period in the StyleofThuluth, aesthetical measures were not achived in the Style ofCali, a thicker formthereof, and therefore inelegant examples of Cali were produced. In fact, even thosecalligraghs written by Hafiz Osman in Salih style did not suit his fame, but that was whatcould be accomplished in that period. Nevertheless, Mustafa Raqim excelled the styles ofcalligraphy of all times with not only his letters but also the perfection of arrangement inSalihs as well as in his calligraphs in Thuluth andNaskh; He managed to transfer HafizUthmans concept from Thuluth into Cali. What is more, Mustafa Raqim improved Sultansimperial monograms to their ultimate elegance.

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Rkmdan sonra gelen ve o yolun takipisi olan cel stad Sm Efendi (1838-1912)de, smil Zhdnin sls harflerini celye tatbik ederek Rkm yoluna yeni bir ivevermi, cel sls istifini doldurmakta kullanlan yardmc iaretleri, ayrca rakamlaren cazip biimde yazmay baarmtr. Onun ada olan veya sonradan yetienarambal Hac rif Bey (.1892), Nazif Bey (1846-1913), mer Vasf (1880-1928)

ve kardei Emin Yazc (1883-1945), smail Hakk Altunbezer (1873-1946), Halimzyazc (1898-1964), Mcid Ayral (1891-1961) ve Hmid Ayta (1891-1982) gibistadlar, celde hep bu sluba sadk kalmlar veya kalmaya almlardr.

Rkmla ayn devirde yaayan Mahmd Celleddin (.1829) de sls ve nesih yazlarndaHfz Osmandan kendi zevkine gre bir ive alp bunu gelitirmi, metanetli bir yazyashib olmutur. Fakat bu slb celye dnnce katlar, sert bir hl alr. Onun iin MahmdCelleddin, Rkmn karsnda cel yazsyla hi tutunamamtr.

Byk hattat ve musiki stad Kadasker Mustafa zzet Efendi (1801-1876) ve onunyetitirdii efik Beyle (1819-1880) Abdullah Zhd Efendi (.1879) ve MuhsinzdeAbdullah Bey (1832-1899), Hfz Osman-Celleddin-Rkm karm bir slupta kararklmlarsa da, onlarla ada olan evk Efendi (1829-1887), sls-nesih yazlarnHfz Osman ve Rkmdan ald ilhamla, o devre kadar grlen en yce seviyeye

karm ve bu yazlarda son merhale olarak kalmtr. Onun rencilerinden Bakkalrif (1836-1909) ve Fehmi (1860-1915) efendilerle, Smi Efendinin talebesi KmilAkdik (1861-1941), bu yolun gzide temsilcilerindendir. rif Efendiden hat mekeden Aziz Efendi (1871-1934) de, davet olunduu Msrda, evk Efendi tavrnyaymtr. Kadasker Mektebine mensup olan Hasan Rz Efendi (1849-1920) de,nesih hatt ile Kurn- Kerm yazmada unutulmaz son isimdir.

Btn resm ilerde yeri olan dvn ve cel dvn yazlarnn en mkemmel sevyeyeXIX. asr sonlarnda ulatn kaydedip biraz da talk hattndan sz edelim: XV. asrnikinci yarsndan beri kullandmz, randa nestalk adyla anlan ve Osmanllardasadece talk denilen bu yaz nevinin bizde hakkyla ele aln, rann mruf nestalkstad mdl-Hasenden (.1615) sonra oldu.

Trk hattatlar bu slubu ylesine benimsediler ki, stn baar gsterenlere md-

Rm (Anadolunun md) denilmesi det hkmne girdi. Nihayet vcudunun sayan felli doduu iin sol eliyle yazdndan Yesr lakabyla anlan hat dehmzMehmed Esad Efendi (.1798), mdn en gzel harflerinden seip onu ive olarakald ve bylece bir Trk Talk Mektebi dodu. Onun olu Yesrzde Mustafa zzetefendi (1770-1849) de bu iveyi btn teferruatyla kaidelerine oturtarak randa dayazlamayan bir Trk cel talk slubunu ortaya koydu. Cel slste olduu kadartalk ve cel talk yazlarnda da stad olan Sm Efendi bu Trk slubunu enmtekmil biimi ile talebesinden Nazif Bey (1846-1913), Hulus Yazgan (1869-1940),mer Vasf (1880-1928) ve Necmeddin Okyaya (1883-1976) aksettirdi.

Grlyor ki, yaz sanatmzda devaml bir szlp arnma ve sluplama hareketivardr ve bunlar, yaznn esasn bozmadan yaplmtr. Mimari, musiki, resim vetezyn sanatlarmzn, Bat tesiri ile bozulup gerilemesine mukabil, hat sanatnndaima mkemmele gidiinin, kanaatimizce sebebi vardr:

Also, Sami Efendi (1838-1912), a master ofCali who came after Raqim and followedhis pathway, applied Ismail Zuhdis Thuluth letters to Cali and added a new style toRaqims path, achieving thereby to write the auxiliary symbols used for filling theCali Thuluth arrangement and also numbers in most attractive fashion. Such masterswho were contemporary to him or came after him as Hajj Arif Bey of aramba (d.1982), Nazif Bey (1846-1913), Omar Vasfi (1880-1928) and his brother Emin Yaz'c(1883-1945), Ismail Hakk Altunbezer (1873-1946), Halim zyazc (1898-1964),Macid Ayral (1891-1961) and Hamid Ayta (1891-1982) ever abided by this style inCali - or at least tried to do so.

Again, Mahmud Celaleddin (d. 1829), who lived in the same period as Raqim, alsoextracted a style from Hafiz Osman in calligraphs ofThuluth andNaskh in his ownpleasure, developed it and accomplished a firm writing. However, this style gets hardand tough when it turns into Salih. Therefore, Mahmud Celaleddin failed to standagainst Raqim with his Salih writing.

Although Kadasker Mustafa Izzet Effendi (1871-1876), a great master of calligraphyand music, and efik Bey (1819-1880) and Abdullah Zuhdi Efendi (d. 1879), whomhe trained, and Muhsinzade Bey (1832-1899) made up their mind in a style that was amixture of Hafiz Osman-Raqim, evki Efendi (1829-1887), contemporary to them,carried his Thuluth-Naskh calligraphs to the peak at the time being inspired by Hafiz

Osman and Raqim; and remained as the last station in these writings. As a matter offact, Bakkal Arif Efendi (1836-1909) and Fehmi Efendi (1860-1915) of his studentsand Kamil Akdik (1861-1941), a student of Sami Efendi, were of the select representativesof this path. Aziz Efendi (1871-1934), who took calligraphy lessons from Arif Efendi,spread the style of Shawqi Efendi in Egypt, where he was invited. Still, Hasan RzaEfendi (1849-1920), who worked at the School for Kadasker, is the last unforgettablename to write the Holy Koran inNaskh Style.

Having remarked that the writings ofDeewani and Cali Deewani, which were also used in allofficial transactions, reached the most elegant level towards the end of XIX. century, we wouldnow like to make a little mention of the Style of Taliq: The right and proper use of this Style ofCalligraphy, which we had been using from the second half of the XV. century, which was mentionedasNasTaliq in Iran and known as Taliq by the Ottomans, took place after Imadul Haseni (d.1615), a Persian Master in the Style ofNasTaliq.

Turkish calligraphs embraced this style to so enthusiastically that it became a custom

to call those who performed supreme achievement therein Imad al-Rum (the Imadof Anatolia). Lastly, our Genius of Calligraphy Mehmed Esad Efendi (d. 1798), whohas been mentioned as Yesari for he could write with his left hand as he was paralysedon the right side, selected from the best letters of Imad and made it a Style, thus givingbirth to the Turkish School ofTaliq. Further, his son Yesarizade Mustafa Izzet Efendi(1770-1849) settled this Style upon its pillars in all details and originated the TurkishCali Taliq Style, which could not be written even in Persia. Sami Efendi, who was amaster in the styles ofTaliq and Cali Taliq as well as Cali Thuluth, had this Turkishstyle reflected in its perfect form in his pupils Nazif Bey (1846-1913), Hulusi Yazgan(1869-1940), mer Vasfi (1880-1928) and Necmeddin Okyay (1883-1976).

As is seen, there have ever been purification, refinement and stylisation movements in our Artof Calligraphy, which have been accomplished without disturbing the quintessence of thewriting. Contrary to the fact that our artists in architecture, music, painting and ornamentationhave been corrupted and receded under the influence of the West, we assume that the reasonslying behind the Calligraphic Arts ever getting perfect are as follows:

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1- Bnyesine tesir edebilecek, benzeri bir sanatn Avrupada bulunmay,

2- slup sahibi hattatlar elinde usta-rak esasna gre salam kaidelerle nesildennesile intikali,

3- Zamanla, kendi bnyesi iinde yenilenme kabiliyetine sahip oluu.slm leminde pek yaygn bir sz vardr: Kurn- Kerm Hicazda nazil oldu,Msrda okundu, stanbulda yazld. Gerekten, Kurn mucizesi bir sanat aheseriolarak kt zerine stanbulda aksetmitir. slam Peygamberinin sz incileri olanhadisler de, yine bu beldede inci misali yazlagelmitir. Yalnz onlar m; divanndanfermanna, mermer stne hakkedilmi eme kitabesinden mezar tana kadar herbiri, isimlerini burada ayr ayr yad etmeye imkan bulamadmz hat sanatkrlartarafndan, tarihe beldetn-tayyibetn (bir gzel ehir) olarak geen stanbulun buismine layk bir biimde, gzellii grebilenlerin nazarlarna sunulmutur.

lkemizde, tabiatyla eski aaas kalmayan hat sanat, son yllarda yetien genhattatlarn gayreti ve taze merakllarn ilgisi ile yeniden gelime yoluna girmi,tarihe karan bir sanat olmaktan kmtr. Albaraka Trkn tertipledii hatmsabakasnda kazanp dereceye giren genler de bu szlerimizin doruluunadelil oluturmaktadr.

Prof. M. Uur DermanAlbaraka Trk Hat Yarmas Jri Bakan

1) There has actually been no similar art in Europe that will affect its structure;

2) It has been inherited from generation to generation in the hands of such calligraphersas have originated styles under sound principles on basis of master-apprentice relationship;

3) It is vested with the capacity to be renovated within itself in the course of time.There is a very common saying in the Islamic World: The Holy Quran was revealedin the Hejaz, recited in Egypt and written in Istanbul. In fact, the miracle of Quran hasbeen reflected on paper as a masterpiece of art in Istanbul. Again, the Hadiths (Traditions)that are the verbal pearls of the Prophet of Islam have ever been written like pearls in thiscity. What is more, a very great number of calligraphs from Deewani (Collection of Poems)to Firmans (Imperial Edicts), from fountain inscriptions to epitaphs engraved on marbleshave been presented by Artists of Calligraphers whose names we are here unable tomention separately in such a fashion as is appropriate to the title of Baldatun-Tayyibatun(A Beautiful City) to the observation of those beholders that are able to see them.

The Art of Calligraphy, the former splendour of which has naturally vanished, has begun toflourish anew through the endeavour of those young calligraphers that have been raised duringthe recent years and the interest of fresh champions thereof, whereby quitting being an art ofthe past. Last but not least, the young prize-winners in the Calligraphy Contest organized byAlbaraka Trk confirm the truth of our words.

Prof. M. Uur Derman,President of the Jury of Albaraka Turk Calligraphy Contest

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19Jawad Khouran

(ran, 1977)

zel dl23

Ferhat KURLU(Ordu, 1976)

Cel Sls1.lik dl

24 Muhammed D. CELLL(Halep/Suriye, 1957)Cel Sls

2.lik dl

25

Wissam SHAWKAT MATTI(Basra/Irak, 1974)

Cel Sls3.lk dl

26 mer Faruk ZOUL(Erzurum, 1968)Cel Sls

3.lk dl 27 Ahmet FARIS RIZIG(Msr, 1980)Cel Sls

Tevik dl

28 Beatrice Hilal ZMECOLU(Fransa, 1968)Cel Sls

Tevik dl 29 Ali Rza ZCAN(Zonguldak, 1968)Cel Sls

Tevik dl

33 Ferhat KURLU(Ordu, 1976)Sls

1.lik dl

34 Jawad Khouran(ran, 1977)Sls

2.lik dl 35Bijar El-Hac Kerim EL-ERBILLI

(Irak, 1963)

SlsTevik dl 36

Ziyad Haydar AL-MUHANDIS(Irak, 1967)

SlsTevik dl

37 Nuh El-HAMD(Suriye, 1968)Sls

Tevik dl


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38 Haysem EL-HAMADE(Suriye, 1970)Sls

Tevik dl 43

Abdurrahman Ahmed EL-ABD(Halep/Suriye, 1973)

Sls-Nesh1.lik dl

44 Betl KIRKAN(stanbul, 1971)Sls-Nesh2.lik dl

45


Sls-Nesh3.lk dl

46 Emine SAMAN(stanbul, 1968)Sls-Nesh

Tevik dl

47

Bijar El-Hac Kerim EL-ERBILLI(Irak, 1963)

Sls-NeshTevik dl

48

Mahmud Elbn B. MUHYDDN(Halep/Suriye, 1953)

Sls-NeshTevik dl

51 Tahsin KURT(Van, 1965)Cel Talk

1.lik dl

52 Ali Rza ZCAN(Zonguldak, 1968)Cel Talk

Tevik dl

55 Khaled EL-SAE(Suriye)Cel Divn1.lik dl

56Enver Abdusselam

AL HALAVN(Halep/Suriye, 1966)

Cel Divn2.lik dl

57 Mustafa PARILDAR(anlurfa, 1982)Cel Divn

Tevik dl


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JR YELERMEMBERS OF THE JURY

1. Prof M. Uur DERMAN2. Hseyin KUTLU3. Hasan ELEB4. Fuad BAAR


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ALBARAKA TRK ZEL DLSPECIAL PRIZE OF ALBARAKA TRK


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19

Kurn- Kerm:Kasas Suresi 77. Ayet

nrndEG oG nnrMnG %nnc rprMnG nh

Trke Meali:

Allah sana nasl iyilik ettiysesen de yle iyilik et.

Hattat:Jawad Khouran

(ran, 1977)

Tezhip:Nilfer Kurfeyz

Selim Salam

Albaraka Trk2005 Hat Yarmas

zel dl


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CEL SLS

CALI THULUTH


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Kurn- Kerm:Bakara Suresi 276. Ayet

pnbnsdG pHrojnhGnHudG oG onrnjm*KnG mQs nc soc tpoj n oG nh

Trke Meali:Allah, faizi eksiltir, sadakalarise bereketlendirir. Allah kfrde

ve gnahta srar edenhi kimseyi sevmez.

Hattat:Ferhat KURLU

(Ordu, 1976)

Tezhip:Nilfer Kurfeyz

Selim Salam


Cel Sls1.lik dl

23


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24

Hadis-i erf:Buhari

prndrG prnY pa onG.ppNnG prnY pa orndrG nGnOne

Trke Meali:Kul kardeine yardmettii srece Allah daonun yardmcsdr.

Hattat:Muhammed D. CELLL(Halep/Suriye, 1957)

Tezhip:Hande Berra

Albaraka Trk2005 Hat YarmasCel Sls2.lik dl


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Hadis-i erf:Buhari


Trke Meali:Kul kardeine yardm

ettii srece Allah daonun yardmcsdr.

Hattat:Wissam SHAWKAT MATTI

(Basra/Irak, 1974)

Tezhip:Glnur Duran

Albaraka Trk2005 Hat YarmasCel Sls

3.lk dl

25


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26

Hadis-i erf:Buhari


Trke Meali:Kul kardeine yardmettii srece Allah daonun yardmcsdr.

Hattat:mer Faruk ZOUL(Erzurum, 1968)

Tezhip:Glnihal Kpeli

Albaraka Trk2005 Hat YarmasCel Sls3.lk dl


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Hadis-i erf:Buhari




Hattat:Ahmet FARIS RIZIG

(Msr, 1980)

Tezhip:Ayten Tiryaki


Tevik dl

27


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Kurn- Kerm:Furkan Suresi 67. Ayet

Goaproj rnd Gon rfnCG Gn%PpG nj* sdG nh.keGnnb npd$P nrnH nnc nh Ghoornj rnd nh

Trke Meali:Onlar ki, harcadklar zaman neisraf ederler, ne de cimrilikederler. Bunun ikisi arasndaorta bir yol tutarlar.

Hattat:Beatrice Hilal ZMECOLU(Fransa, 1968)

Tezhip:Cemile Baybura

Albaraka Trk2005 Hat YarmasCel SlsTevik dl

28


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Hadis-i erf:Buhari




Hattat:Ali Rza ZCAN

(Zonguldak, 1968)

Tezhip:ehnaz zcan


Tevik dl

29


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SLSTHULUTH


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Trke Meali:Faiz yiyenler (kabirlerinden)

ancak eytann dokunup arptkimsenin kalkt gibi kalkarlar.

Bu onlarn Alveri de faizgibidir demeleri yzndendir.Halbuki Allah, alverii helal,

faizi haram klmtr. Bundanbyle, kime Rabbinden bir tgelir de yaptndan vazgeerse,

gemite olan kendisinindir veii de Allaha kalmtr. Kim deyeniden (faizcilie) dnerse, iteonlar cehennemliktir, onlar orada

srekli olarak kalacaklardr.

Hattat:Ferhat KURLU

(Ordu, 1976)

Tezhip:Zehra Durmu


Sls1.lik dl

33


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34

Kurn- Kerm:Kasas Suresi 76-77. Ayetler

Trke Meali:Karun, Musann kavminden idide, onlara kar azgnlk etmiti.Biz ona yle hazineler vermitikki, anahtarlarn gl-kuvvetlibir topluluk zor tard. Kavmiona yle demiti: marma! Bilki Allah marklar sevmez.Allahn sana verdiinden (Onunyolunda harcayarak) ahiretyurdunu iste; ama dnyadan danasibini unutma. Allah sana nasliyilik ettiyse sen de yle iyiliket. Yeryznde bozgunculuuarzulama. phesiz ki Allah,bozguncular sevmez.

Hattat:Jawad Khouran(ran, 1977)


Albaraka Trk2005 Hat YarmasSls2.lik dl


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Kurn- Kerm:Maide Suresi 12. Ayet

Bakara Suresi 271. Ayet

Trke Meali:Allah demiti ki; phesiz, ben

sizinle birlikteyim. Eer namaz klar,zekat verirseniz, peygamberlerime

iman edip onlara yardm eder veAllah iin gzel bir dn verirsenizelbette sizin gnahlarnz rterim ve

sizi altlarndan rmaklar akancennetlere sokarm. Bundan sonra

iinizden kim inkr ederse, phesizdz bir yolun ortasndan sapm

olur. Sadakalar aktan verirsenizne gzel! Eer onlar yoksullaragizlice verirseniz sizin iin dahaiyidir ve sizin gnahlarnzn bir

ksmn rter. Allah yaptklarnzdanhaberdardr.

Hattat:Bijar El-Hac Kerim EL-ERBILLI

(Irak, 1963)

Tezhip:Hande Berra


SlsTevik dl

35


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Trke Meali:Ey iman edenler!Kazandklarnzn ve rzk olarak sizeyerden kardklarmzn iyisinden,

temizinden fakirlere verin. Sizeverilse gznz yummadanalamayacanz kt mal hayr diyevermeye kalkmayn. Biliniz kiAllah zengindir, vgye layktr.

Hattat:Ziyad Haydar AL-MUHANDIS(Irak, 1967)

Tezhip:Zehra Durmu

Albaraka Trk2005 Hat YarmasSlsTevik dl

36


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Trke Meali:Mallarn Allah yolunda

harcayanlarn rnei, her baakta yz

tane olmak zere yedi baak bitirentek bir tane gibidir. Allah dilediinekat kat fazlasn verir. Allah cmerttir

ve her eyi bilendir.

Hattat:Nuh El-HAMD(Suriye, 1968)

Tezhip:Hande Berra

Albaraka Trk

2005 Hat YarmasSls

Tevik dl

37


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Trke Meali:Mallarn Allah yolundaharcayanlarn rnei, her baakta yz

tane olmak zere yedi baak bitirentek bir tane gibidir. Allah dilediinekat kat fazlasn verir. Allah cmerttirve her eyi bilendir.

Hattat:Haysem EL-HAMADE(Suriye, 1970)

Tezhip:Ayenur Kadakveli

Albaraka Trk

2005 Hat YarmasSlsTevik dl

38


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SLS-NESH

THULUTH-NASKH


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Hadis-i erf:Tirmizi, Zhd 20, Zhd 26, Zhd 35

Kurn- Kerm:Bakara Suresi 275. Ayet,

Mearic Suresi 24-25. Ayetler

Trke Meali:iftlik ve akar edinerek dnyaya rabet

etmeyiniz. (Tirmizi, Zhd 20)phesiz her mmetin bir fitnesi vardr.mmetimin fitnesi (imtihan sebebi) de

maldr. (Tirmizi, Zhd 26) slamndosdoru yoluna ulatran ve geimi

yeterli olup da buna kanaat eden kimse,ne kadar mutludur... (Tirmizi, Zhd 35)

Faiz yiyenler (kabirlerinden) ancakeytann dokunup arpt kimsenin

kalkt gibi kalkarlar. Bu onlarn al-veri de faiz gibidir demeleri

yzndendir. Halbuki Allah, alveriihelal, faizi haram klmtr. Bundan

byle, kime Rabbinden bir t gelirde yaptndan vazgeerse, gemite

olan kendisinindir ve ii de Allahakalmtr. Kim de yeniden (faizcilie)

dnerse, ite onlar cehennemliktir, onlarorada srekli olarak kalacaklardr.

(Bakara 275) (Zenginlerin) Onlarnmallarnda isteyen fakirlerin de iffetinden

dolay istemeyen fakirlerin de hakkvardr. (Mearic 24-25)

Hattat:Abdurrahman Ahmed El-ABD

(Halep/Suriye, 1973)

Tezhip:Arzu Tozlu


Sls-Nesh1.lik dl

43


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Kurn- Kerm:Fatr Suresi 29. AyetHadis-i erf:Buhari, Zekat 18, Savm 4,Tirmizi, man 8

Trke Meali:Allahn Kitabn okuyanlar venamaz klanlar ve kendilerineverdiimiz rzktan (Allah iin) gizlive ak sarf edenler, asla zararauramayacak bir kazan mitedebilirler. (Fatr 29) Veren el alanelden hayrldr. Yardm etmeye,geimini stlendiin kimselerdenbala. Sadakann hayrls, ihtiyafazlas maldan verilendir. Kiminsanlardan bir ey istemezse, Allahonu kimseye muhta etmez. Kim detokgzl olursa, Allah onu zenginklar. (Buhari, Zekat 18) Sadaka,suyun atei sndrd gibi gnahnateini sndrr. (Tirmizi, man 8)Sadaka vermeyi sevenler sadakakapsndan (cennete girmeye) davetedilirler. (Buhari, Savm 4)

Hattat:Betl KIRKAN(stanbul, 1971)

Tezhip:Zehra Durmu

Albaraka Trk2005 Hat YarmasSls-Nesh2.lik dl

44


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45

Kurn- Kerm:Kasas Suresi 77. Ayet

Hadis-i erf:Buhari, Zekt 18, Mslim,

Mskat 121

Trke Meali:Allah sana nasl iyilik ettiyse sen

de yle iyilik et. (Kasas 77)Veren el alan elden hayrldr.Yardm etmeye, geimini stlendiin

kimselerden bala. Sadakannhayrls, ihtiya fazlas maldan

verilendir. Kim insanlardan bir eyistemezse, Allah onu kimseye muhta

etmez. Kim de tokgzl olursa,Allah onu zengin klar.

(Buhari, Zekat 18)Sizin en hayrlnz, bor deme

konusunda en iyi olannzdr.(Mslim, Mskat 121)

Hattat:Ziyad Haydar AL-MUHANDIS

(Irak, 1967)

Tezhip:Seher Ac


Sls-Nesh3.lk dl


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Kurn- Kerm:

Kasas Suresi 77,Mzzemmil Suresi 20,Bakara Suresi 195 ve 276,li mran Suresi 134. Ayetler

Trke Meali:Allah sana nasl iyilik ettiyse sende yle iyilik et. (Kasas 77)Namaz kln, zekt verin ve Allahagzel bir dn verin. Kendiniz iingnderdiiniz her iyilii, Allahkatnda daha hayrl ve sevapa dahabyk olarak bulacaksnz. Allahtanaf dileyin. phesiz Allah okbalayc, ok esirgeyicidir.(Mzzemmil 20) Allah yolundaharcayn. Kendi ellerinizle kendinizitehlikeye atmayn. Her trlhareketinizde drst davrann. nkAllah drstleri sever. (Bakara 195)Allah kfrde ve gnahda srar edenhi kimseyi sevmez. (Bakara 276)O takva sahipleri ki, bollukta vedarlk zamanlarnda Allah iinyardm ederler, fkelerini yutarlarve insanlar affederler. Allah da gzeldavranta bulunanlar sever.

(li mran 134)

Hattat:Emine SAMAN(Eyp/stanbul, 1968)

Tezhip:Arzu Tozlu

Albaraka Trk2005 Hat YarmasSls-NeshTevik dl

46


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Hadis-i erf:Buhari, Savm 4, By 15, Zekat 18,

Mslim, Mskat 92, Zekat 130,Mskat 129,

Tirmizi, Zhd 26Kurn- Kerm:

li mran Suresi 161. Ayet

Trke Meali:Sadaka vermeyi sevenler sadaka kapsndan

(cennete girmeye) davet edilirler.(Buhari, Savm 4) Her kim Allaha ve ahiret

gnne iman ediyorsa sakn misli mislinden fazlabir ey almasn. (Mslim, Mskat 92) Kimemanete (devlet malna) hyanet ederse, kyamet

gn, hainlik ettii eyin gnah boynuna aslolarak gelir. (Ali mran 161) Zenginlik malokluundan ibaret deildir. (Hakiki) Zenginlik,gnl zenginliidir. (Mslim, Zekt 130) Hikimse, asla kendi kazancndan daha hayrl birrzk yememitir... (Buhari, By 15) phesizher mmetin bir fitnesi vardr. mmetimin fitnesi(mtihan sebebi) de maldr. (Tirmizi, Zhd 26)Veren el alan elden hayrldr. Yardm etmeye,

geimini stlendiin kimselerden bala.Sadakann hayrls, ihtiya fazlas maldan

verilendir. Kim insanlardan bir ey istemezse,Allah onu kimseye muhta etmez. Kim de

tokgzl olursa, Allah onu zengin klar. (Buhari,

Zekt 18) Her kim ihtikr yaparsa asiolmutur. (Mslim, Mskat 129)

Hattat:Bijar El-Hac Kerim EL-ERBILLI

(Irak, 1963)



Sls-Nesh

Tevik dl

47


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Kurn- Kerm:Ali mran Suresi 161. AyetHadis-i erf:Buhari, Zekt 18, Mslim, Zekt 52,Tirmizi, Zhd 26

Trke Meali:Kim emanete (devlet malna) hyanetederse, kyamet gn, hainlik ettiieyin gnah boynuna asl olarak

gelir. (Ali mran 161)Veren el alan elden hayrldr. Yardmetmeye, geimini stlendiinkimselerden bala. Sadakann hayrls,ihtiya fazlas maldan verilendir. Kiminsanlardan bir ey istemezse,Allah onu kimseye muhta etmez. Kimde tokgzl olursa, Allah onu zenginklar. (Buhari, Zekt 18)Her iyilik sadakadr.(Mslim, Zekt 52)phesiz her mmetin bir fitnesivardr. mmetimin fitnesi (imtihan

sebebi) de maldr. (Tirmizi, Zhd 26)

Hattat:Mahmud Elbn B. MUHYDDN(Halep/Suriye, 1953)

Tezhip:Oya Atila

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CEL TALK

JALI TALIQ


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Hadis-i erf:Mslim, Zekt 130

sp$d nh pVnndrG mInrnc rnY npdrG nrnd.pr sdG npZ npdrG

Trke Meali:Zenginlik mal okluundan ibaretdeildir. (Hakiki) Zenginlik,gnl zenginliidir.

Hattat:Ali Rza ZCAN(Zonguldak, 1968)

Tezhip:Seher Ac

Albaraka Trk

2005 Hat YarmasCel TalkTevik dl

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CEL DVN

JALI DEEWANI


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pQnsdG nh prsdpH rondGnrenG nop roj nj* sdnG

rpuHnQ nrpY rogorLnG ronna knpf nnY nh GvpS.nofnrnj rogn nh rprn nY lrnN n nh

Trke Meali:Mallarn gece ve gndz, gizli

ve ak hayra sarf edenler var ya,onlarn mkfatlar Allah

katndadr. Onlara korku yoktur,znt de ekmezler.

Hattat:Khaled EL-SAE

(Suriye)

Tezhip:Ayenur Kadakveli


Cel Divn1.lik dl

55


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Kurn- Kerm:Nisa Suresi 29. Ayet

rond GnrenG G%oocrCnJ n Gone$G nj* sdG ntjnG %njkInQnpJ nonJ rnG s%pG ppWnrdpH ronrnHrono rfnG G%o ornJ n nh rorpe mVGnnJ rnY.k*MnQ ropH nnc nG spG

Trke Meali:Ey iman edenler! Karlkl rzayadayanan ticaret yolu dnda,mallarnz aranzda haksz veharam yollarla yemeyin.Nefislerinizi de ldrmeyin.phesiz Allah,size kar ok merhametlidir.

Hattat:Enver AbdusselamAL HALAVN(Halep/Suriye, 1966)

Tezhip:Nilfer KurfeyzSelim Salam

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Kurn- Kerm:Tevbe Suresi 79. Ayet

n*perDoG npe n*YusorG nhopr nj nj* sdnGspG nhopnj n nj* sdG nh pnbnsdG paoG npnS rorpe nhonrnna rognroL

.l*dnG lGn nY rondnh rorpe

Trke Meali:Sadakalar konusunda gnlden

veren mminleri ekitiren veglerinin yettiinden bakasn

bulamayanlarla alay edenleryok mu, Allah onlar maskaraya

evirmitir. Onlar iin can yakcbir azap vardr.

Hattat:Mustafa PARILDAR

(Siverek/anlurfa, 1982)

Tezhip:Hande Berra


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DL KAZANANLAR

AWARD WINNERS


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Jawad Khouran(ran, 1977)

zel dl Sls2.lik dl

1977de randa dodu. 1998-2002de randaHattat Hakim Ghannamn yannda hsn- hatrakl yapt. Daha sonra Hattat Muhammedzayn yannda hsn- hat almak zerestanbula tand . Sls icazet ini bir y ldatamamlad ve Hat tat Muhammed zaynyannda cel sls eitimi grmeye devam etti.2004te stanbulda 6. Uluslararas Hsn- HatYarmasnda cel sls ve sls hatlarndabirincilik dllerini kazand. Katld sergiler:

2004 Dubai Uluslararas Arab Hsn- Hat Sergisi,2005 Dubai Uluslararas Arab Hsn- Hat Sergisi.

He was born in Iran in 1977. In Iran between 1998 2002, he had practiced apprenticeship beside theCalligrapher Hakim Ghannam. Afterwards, hemoved to Istanbul in order to practice calligraphybeside the Calligrapher Muhammed zay. He hadcompleted his Thuluth diploma in one year andcontinued his training beside the CalligrapherMuhammed zay in the field of Jali Thuluth. In2004, he was awarded the 1st prize in the fields ofJal i Thuluth and Thuluth in 6 th Cal l igraphyCompetition held in Istanbul. The exhibitions hehad participated in: 2004 Dubai InternationalArabic Cal l igraphy Exhibi t ion, 2005 DubaiInternational Arabic Calligraphy Exhibition.

Ferhat KURLU(Fatsa/Ordu, 1976)

Cel Sls Sls1.lik dl 1.lik dl

Ferhat Kurlu 1976da Fatsada dodu. MuzafferEcevit Beyden hat sanatna ilgi uyandran ilksanat bilgilerini ve ilk rik'a derslerini ald.1996daHattat Hasan elebi Hoca ile sls-nesh mekinebalad. 2000 ylnda IRCICAda yaplan icazettreniyle sls-nesh icazetini ald. IRCICAtarafndan dzenlenen 5. Milletleraras HatYarmasnda cel sls dalnda 1.lik dl 6.yarmada sls dalnda mansiyon dl ald.

13. Devlet Hat Yarmasnda baar dl, Antik

A . . t a ra f ndan dzen l enen H i lye - i e r i f Yarmasnda cel sls-sls-nesh dallarnda1.lik dlne layk grld (2005). Bir tanesiDubaide olmak zere ondan fazla karma sergiyeitirak etti. stanbulda ve civar illerde birok camive mescidin, emenin kitabe, kubbe, kuak vemermer yazlarn yazd. 100 civarnda hilye-ierif, 40 civarnda zgn sls, cel sls esereimza att.

Ferhat Kurlu was born in Fatsa in 1976. His firstinspiring knowledge in callingraphy writting and hisfirst Rika lessons was from Muzaffer Ecevit. 1996,he met the Calligrapher Hasan elebi and startedlearning Thuluth-Naskh. In 2000 he received hisThuluth-Naskh diploma in the diploma ceremonyorganized at IRCICA. After a year, he was awarded

the 1st prize again in the field of Jali Thuluth in the5th International Calligraphy Competition organizedby IRCICA. In the 6th competition organized by thesame institute, he received the honorable mention inthe field of Thuluth. He was awarded the award ofsuccess in the 13th State Calligraphy Competitionand the 1st prize in the fields of Jali Thuluth-Thuluth-Naskh in Hilya-i Sharif competition that is organizedby Antik A.Sde (2005). He had participated in morethan ten joint exhibitions, one of them in Dubai. Hehad written the inscriptions, domes, beams andmarbles of many mosques, fountains in stanbul andsurrounding cities. He had written around 100 Hilya-i Sharif, around 40 original Thuluth and Jali Thuluthworks.

Muhammed D. CELLL(Halep/Suriye, 1957)

Cel Sls2.lik dl

Hat derslerini 1975 ylnda Mahmut Sbn el-HalebHoca efendiden ald. 2002 ylnda Abdlhamid El-Ktib adna dzenlenen Hat Sanat Yarmasndacel divn dalnda birincilik dl ald. 2003 ylndaAbdlhamid El-Ktib adna dzenlenen hat sanatyarmasnda sls dalnda ikincilik dl ald. 2003ylnda Mr md el-Hasan adna dzenlenen 6.Uluslararas Hat Sanat Yarmasnda divn dalnda3.lk dl ald. 2005 ylnda Abdlhamid El-Ktibadna dzenlenen hat sanat yarmasnda Divn

dalnda 3.lk dl ald. Dnyann en bykKuran- Kerimi olan am Mushafnn drdncblmnn yazmna itirak etti.

He received his calligraphy lessons from MahmutSbn el-Haleb in 1975. In 2002, he was awardedthe 1st prize in the field of Jali Deewani in theCompetition of Art of Calligraphy organized in thename of Abdulhamid el-Katib. In 2003, he wasawarded the 2nd prize in the field of Thuluth in theCompetition of Art of Calligraphy organized in thename of Abdulhamid el-Katib. In 2003, he wasawarded the 3rd prize in the field of Deewani in thesixth international Competition of Art of Calligraphyorganized in the name of Mir Imad el-Hasani. In2005, he was awarded the 3rd prize in the field ofDeewani in the Competition of Art of Calligraphy

organized in the name of Abdulhamid el-Katib. Hehad participated in inscribing the fourth section ofthe Damascus Quran, which is the largest Quran inthe world.

Wissam SHAWKAT MATTI(Basra/Irak, 1974)

Cel Sls3.lk dl

1974te Basrada dodu. 1996da Basra niversitesinaat Mhendisliini bitirdi. Irak MhendislerBirlii, Irakl Hattatlar Cemiyeti, Irak Gzel SanatlarCemiyeti, rdn Hattatlar Cemiyeti, EmirliklerGzel Sanatlar Cemiyeti, Dubai Arap HattatlarGurubu yelikleri bulunmaktadr. 1989da BadatArab Hsn- Hat Milli Sergisi Mkemmellik dlald.1993te Basrada ilk, 1994te ikinci kiiselsergisini at. 1996da Basra Arapa Hat Sergisi 2.likdln ald. 1998, Badat Uluslararas Arap Hat

Sanat & slami Ssleme Sanat Festivali, 2.likdln ald. 2000 ylnda stanbul Uluslararas ArapHat Sanat Yarmas tavsiye dln ald. Bunlardanbaka eitli yarmalardan dereceleri de bulunansanat Arap hsn- hat sanatnda 18 yllk tecrbeyesahiptir.

He was born in 1974 in Basra. In 1996, he hadcompleted civil Engineering department of BasraUniversity. He has memberships in EngineersAssociation of Iraq, Society of Iraqi Calligraphers,Society of Emirates Fine Arts, Dubai ArabCalligraphers Group. In 1989, he was awarded thePerfection Prize of Baghdad Arabic CalligraphyNational Exhibition. In 1993, he had his first personalexhibition and in 1994 he had his second personalexhibition in Basra. In 1996, he was awarded the 2 nd

prize in Basra Arabic Calligraphy Exhibition. In1998, he was awarded the 2nd prize in BaghdadInternational Arabic Calligraphy Art Competition &Islamic Ornamentation Art Festival. In 2000, he wasawarded the recommendation prize in IstanbulInternational Arabic Calligraphy Art Competition.Other than these, the artist, who has awards invarious competitions, has an experience of 18 yearsin Arabic Calligraphy Art.


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mer Faruk ZOUL(Erzurum, 1968)

Cel Sls3.lk dl

1968 y l nda Erzurumda dodu.1996da Atatrk niversitesi KazmKarabekir Eitim Fakltesi ResimBlmnden mezun oldu. Davut BektaHocadan sls-nesh dersleri almayadevam etmektedir.

He was born in Erzurum in 1968. In1996, he was graduated from ArtD epa r tment o f K az m K arabeki rEducation Faculty of Atatrk University.He is continuing to get Thuluth Naskhlessons from the calligrapher DavutBekta.

Ahmet FARS RIZIG(Msr, 1980)

Cel SlsTevik dl

1980de Suudi Arabistanda doan sanat Msruyrukludur. Arab hsn- hat diplomas sahibidir.A.R.E. 2003te snfnn birincisi oldu. 2003retmenlik Yarmasnda birinci oldu. IRCICA,stanbul 5. Uluslararas Arab Hsn- HatYarmasnda nclk dln kazand. 2000,2003 yllar Beinci ve Altnc Uluslararas ArabHsn- Hat Yarmalarnda ncowage dlkazand. Halen Kltr Bakanl Gzel Sanatlarsektrnde hattat olarak, Kahire Arab Hsn- HatAkademisinde ve Khalil Agha Okulunda Arapahsn- hat retmeni olarak al maktadr .

The artist, who was born in Saudi Arabia in 1980,i s o f Egypt i an na t i ona l i t y . H e has A rab i cCalligraphy diploma. He was the first one in theclass in 2003 in A.R.E. He also became first in theCompetition of Teaching in 2003. He was awardedthe 3rd prize in the 5th Istanbul InternationalCalligraphy Competition organized by IRCICA.He was awarded three incowage prizes in the 5 th

and 6 th In t e rna t i ona l A rab i c Ca l l i g raphyCompetitions in the years 2000, 2003. currently heis working as a calligrapher in the Ministry ofCulture Fine Arts sector and as Arabic calligraphyteacher in Cairo Arabic Calligraphy Academy andKhalil Agha School.

Beatrice Hilal ZMECOLU(Fransa, 1968)

Cel SlsTevik dl

1968 ylnda Fransann Le Havre ehrinde dodu.1985de Paristeki Paul Lapie Lisesinin sanat veedebiyat blmnden mezun oldu. 1988 ylndaHollandada tant eiyle, eitimini yardabrakarak evlendi ve Tkiyeye yerleti. Liseyllarndan ksmen bilgi sahibi olduu slm diniyledaha yakndan tanp mslman oldu. ncedenberi ilgi duyduu uzakdou kaligrafi sanatnn daetkileimiyle Trk hat sanatn renmeye kararverdi. 1995te balad hat sanatnn, sls venesh dallarnda Hattat Hseyin Kutludan 2001ylnda icazet ald ve deiik karma sergilere katld.H a l e n A l i P a a T r k s l m S a n a t l a r Ktphanesinde faaliyetlerini srdrmektedir.

She was born in Le Havre France in 1968. Shewas graduated from art and literature section ofPaul Lapie High School in Paris in 1985. In1988, she married her husband, whom she hadmet while she was in Holland, thus, she did notcomplete her university and she had settled inTurkey. She became acquainted with Islam, ofwhich she had partial information since h er highschool years, and she converted into Islam. Shedecided to learn Turkish Calligraphy Art underthe influence of Far East C alligraphy Art, whichshe w as i n t e re s t ed i n fo r a l ong t ime . S hereceived her diploma in 2001 from CalligrapherHseyin Kutlu in the Thuluth and Naskh fieldof cal l igraphy art , which she had started in1995, and she had participated in various jointexhibitions. The artist, who has two children, iscontinuing her activities at Ali Pasha Turk Islam Arts Library.

Ali Rza ZCAN(Zonguldak, 1968)

Cel SlsTevik dl

1988de Mimar Sinan niversitesi Gzel SanatlarFakltesi Geleneksel Trk El Sanatlar Blmnbitirdi. 1989 ylnda Klasik Devir Kuran-Kerimlerinin Tezhibli Sayfalar adl teziyle ykseklisans, 1996da da Trk Nestalik Ekol adl eseralmasyla sanatta yeterlik mezunu oldu. Prof.Dr. Ali Alparslandan talik, Divn, cel divn, Rika ;Hattat Hseyin Kutludan sls-nesh yaz eitlerindenicazetname ald. Kltr Bakanlnn at DevletTrk Ssleme Sanatlar Yarmalar, IRCICAnndzenledii uluslararas hat yarmalar ile Japonyadayaplan yaz yarmasnda dller ald. M.S..Geleneksel El Sanatlar Hat Anasanat Dalndaaratrma grevlisi olarak greve balad. Halenayn blmde blm bakan yardmcs olarakalmaktadr.

In 1988, he had completed Tradition al TurkishHandcrafts Department of Mimar Sinan UniversityFine Arts Faculty. He had received his masters degreewith his thesis, namely Ornamented Pages ofClassical Period Qurans in 1989 and Competencyin Art degree with Turkish Naskhtaliq School in1996. He received his Taliq, Deewani, Jali Deewani,Riqa diplomas from Prof . Dr. Ali Alparslan and thuluth

naskh diploma from the calligrapher from HseyinKutlu. He had received prizes in State TurkishOrnamentation Arts Competition organized byMinistry of Culture, international calligraphycompetitions organized by IRCICA (Research Centerfor Islamic Art, History and Culture) and calligraphycompetition organized in Japan. He started as aresearch assistant at Traditional Turkish HandcraftsDepartment of Mimar Sinan University. Currentlyhe is working in the same department as the Assistantof the Director of the Department.


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Sls Sls-NeshTev ik d l 3 l k d l

niversitede yllarnda stat Yusuf Zennn iletant. 1995 ylnda hat icazetini bu hocadanald. 1986 ylnda 1. Uluslararas Yarma, 1987ylnda Dnya Badat Festivali, 1996 ylndadzenlenen 4. Uluslararas Yarmaya katld veCel Sls dalnda 1.lik dl ile sls dalndada dle layk grld. 3. Uluslararas BadatFestivaline katld ve Kufe dln ald. 1999ylnda 5. Uluslararas yarmada Sls vemuhakkik ha t sana t l a r da l nda i k i d lkazand.1998 ylnda Birinci Erbil enliindekiyarmada Irak 1.lik dln ald. 6. UluslararasHat Sanat Yarmasnda sls ve Nesh dalndaiki dl kazand. Erbilde 1996 ylnda 1., 2004ylnda 2. zel sergisini at.

During his work life in university, he met themaster Yusuf Zennun and he learned very muchfrom him. In 1995, he received his calligraphydiploma from this master. He had participatedand won prizes in the 1. international competitionof calligraphy organized in 1986, World BaghdadFestival in 1987, 2nd International competition.3rd International competition. He received twoprizes in the field of Thuluth and Muhaqqik inthese competitions. In 1996, he participated inthe 4th International competition organized in thename of Hamdullah el- Emasi and he was awardedthe 1st prize in the field of Jali Thuluth and hewas also awarded a prize in the field of Thuluth.He also participated in the 3rd InternationalBaghdad Festival and he received a prize in thefield of Kufe. In 1999, he was awarded 2 prizesin the field of Thuluth and Muhaqqik in the 5thInternational competition in 1998, he receivedthe 1st prize of Iraq the competition that wasorganized in the First Erbil Festival. He wasawarded 2 prizes in the field of Thuluth andNaskh in the 6th International Calligraphy ArtCompetition. He opened his first private exhibitionin 1996 in Erbil and the second exhibition in2004.

Nuh El-HAMD(Suriye, 1968)

SlsTevik dl

Halepteki retmen okulundan mezun oldu.Abdlhamid El-Ktib Hat Yarmasnda sls hattdalnda birincilik dln kazand. Rakka ehri,2004.2005te ise Abdlhamid el-Ktib Hat Yarmasndacel divn dal nda nclk dl ald .Suriyede yllk sergilere katld. Hattat AbdullahHasann derslerine devam ederek ynlendirmele-rinden istifade etti.

He graduated from teaching school in Aleppo. Hewas awarded the 1st prize in the field of Thuluthin Abdulhamid el-Katib Calligraphy Competition.Rakka city in 2004. In 2005, he was awarded the3 rd pr i ze i n t he f i e ld o f Ja l i D eew ani i nAbdulhamid el-Katib Calligraphy Competition. Heparticipated in the annual exhibitions in Syria. Hecontinued the lessons of the calligrapher AbdullahHasan and he had benefited from his orientations.

Haysem EL-HAMADE(Suriye, 1970)

SlsTevik dl

Selmu ismiyle bilinen Haysem El-Hammade 1970doumludur. Balangta hat ile ilgili almalarnabyk Trk hat ta t larnn al malarna vekaynaklarna mracaat ederek balad. SonraA b d u l l a h H a s a n H o c a e f e n d i n i nynlendirmeleriyle hat sanatna devam etti.almalarn tamamlamak iin Hattat Hasanelebinin derslerine devam etti. IRCICAnndzenl emi o lduu M r Imd E l -H asen yarmasnda rika hat sanat dalnda dl kazand.Halen Halepte rneklemeli ve uygulamal sanatmerkezinde ders vermektedir.

Haysem el-Hammade, who is known as Selmu, wasborn in 1970. In the beginning, he started his workson calligraphy by referring to the works and sourcesof the major Turkish calligraphers. Afterwards, hecontinued working on calligraphy under theinstructions of the master Abdullah Hasan. He tooklessons from the calligrapher Hasan Chelebi inorder to complete is works. He was awarded a prizein the field of Riqa in Calligrapher Mir Imad el-Hasani Competition organized by IRCICA.Currently, he is giving lessons in an illustrated andapplied art center in Aleppo.

Bijar El-Hac Kerim EL-ERBILLI(Irak, 1963)

1991 ylnda hat sanatna mek etti. 1993teIRCICA Hat Sanat Yarmasnda nesih ve icazedalnda iki mansiyon dlne layk grld.1995 ylnda stad Yusuf Zunun ve stad AhmedAbdurrahmandan iki icazetname ald. 1995ylnda Badat Yksek Hat ve Ssleme SanatFestivalinde madalya ald. 1996da ise stanbuldaIRCICA tarafndan dzenlenen eyh Hamdullahel-Amasi Hat Sanat Yarmasnda nesih dalndanclk dlne layk gdld. 1999dagerekletirilen Seyyid brahim Hat Yarmasndanesih dalnda mansiyon dl ald. 2002 ylndaKatar Mushaf Yazm Yarmasnda 1.lik derecesiald. 2004 ylnda Mir mad el-Hasani Yarmassls dalnda 3.lk dl ald. 2005te ise HattatProf. Dr. Ali Alparslan Hocadan talik alanndaicazetname ald. Ayrca sls ve nesih hatlardalnda stad Hasan elebi ve stad HseyinKutlu ve Fuad Baardan da icazetname ald.

He learned calligraphy art in 1991. In 1993, hewas awarded two honorable mentions in thefields of Naskh and Ijaza in IRCICA CalligraphyArt Competition. He received two diplomas fromMaste r Y usuf Zunun and Mast e r A hmedAbdurrahman in 1995. He was awarded a medalin Baghdad Higher Calligraphy and OrnamentationArt Festival. In 1996, he was awarded 3rd prizein the field of Naskh in Shaikh Hamdullah el-Amasi Calligraphy Competition which wasorganized by IRCICA. He was awarded twohonorable mentions in the field of naskh in SeyyidIbrahim Calligraphy Competition that was realizedin Istanbul in 1999. In 2002, he was awarded the1st prize in the Competition of Inscription ofQuran of Qatar. In 2004, he was awarded the 3rd

prize in the field of Thuluth in Mir Imad el-Hasani competition. In 2005, he received hisdiploma in the field of Taliq, from the calligrapherProf. Dr. Ali Alparslan. Moreover, he receiveddiploma in the field of thuluth and naskh fromthe master Hasan ebebi and master HseyinKutlu and master Fuad Baar.

SlsTevik dl

Sls-NeshTevik dl

Cel TalkTevik dl/ /


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Abdurrahman Ahmed El-ABD(Halep/Suriye, 1973)

Sls-Nesh1.lik dl

1973te Halepte dodu. Hat derslerine 1990 ylndaHattat Muhammed Dib Celllde balad. Daha sonrabu dersleri, Hattat Ahmed Emin amtann derslerinedevam ederek srdrd. Bu arada byk Trkhattatlarn (Muhammed evk ve Muhammed zzet)meklerinden yararland. 2003 ylnda Mir mad el-Hasan adna dzenlenen yarmaya katld ve neshdalnda dl ald.2002 ylnda Abdlhamid El-Ktib adna dzenlenenhat sanat yarmasna katld ve sls-nesh hattalmasyla birincilik dl ald. Yine 2004 2005yllarnda dzenlenen ayn yarmada nesh hat sanatdalnda 3.lk dl ald.

He was born in Aleppo in 1973. He started takingcalligraphy lessons in 1990 from the calligrapherMuhammed Dib Cellul. Afterwards, he continuedhis studies by taking lessons from the calligrapherAhmed Emin Shanta. Meanwhile, he benefited thelessons of the major Turkish Cal l igraphers(Muhammed evk and Muhammed zzet). In 2003,he participated in the competition organized in thename of Calligrapher Mir Imad el-Hasani and he wasawarded a prize in the field of Naskh. In 2002, , hewas awarded the 1st prize in the field of Thuluth andNaskh in Abdulhamid el-Kat ib Cal l igraphyCompetition. Again in the same competition held in2004 2005, he was awarded the 3rd prize in thefield of Naskh calligraphy.

Betl KIRKAN(stanbul, 1971)

Sls-Nesh2lik dl

1971 ylnda stanbulda dodu. 1990da Bakrkymam-Hatip Lisesinden mezun oldu. 1991de HattatHseyin Kutludan sls-nesh mek etmeye balad.1995 ylnda icazet ald. Halen Uygulamal Trkslm Sanatlar Ktphanesinde almalarnsrdrmektedir.

She was born in 1971 in Istanbul. In 1990, shegraduated from Bakrky mam-Hatip High School.In 1991, she started taking Thuluth Naskh lessons

from the Calligrapher Hseyin Kutlu. She receivedher diploma in 1995. Currently, she is continuing herstudies at Appl ied Turk Islam Arts Library.

Emine SAMAN(Eyp/stanbul, 1968)

Sls-NeshTevik dl

1968de stanbulda dodu. 1986 ylnda Eypmam-Hatip Lisesinden mezun oldu. 1996daMarmara niversitesi lahiyat Fakltesini bitirdi.Bir sre Eyp Anadolu mam-Hatip Lisesinderetmenlik yapt. 1994te Hattat Hseyin KutluHoca ile hat almalarna balad ve 2001 ylndasls-nesh icazeti ald. 1999 ylnda Hatice Aksudantezhip dersleri almaya balad. Halen hat ve tezhipalmalarna devam etmektedir.

She was born in Istanbul in 1968. In 1986, shegraduated from Eyp mam-Hatip High School. In1996 she graduated from Marmara Univer sity,Faculty of Theology. She taught at Eyp Anatolian

mam-Hatip High School for a while. In 1994, shestarted taking cal l igraphy lessons from theCalligrapher Hseyin Kutlu and she received herThuluth Naskh diploma in 2001. She started takingornamentation lessons from Hatice Aksu in1999. Sheis still continuing her calligraphy ad ornamentationstudies.

Mahmud Elbn B. MUHYDDN(Halep/Suriye, 1953)

Sls-NeshTevik dl

Hat sanatna amatr olarak 10 yanda balad. 1977ylnda Muhammed Beir el-Edleb Hoca efendidenrika dersi ald. 1983 ylnda Halepli hattat merhumbrahim er-Rifnin yerine Dvan Hattat olarakHalep niversitesine tayin edildi. 198519861988ve 2003 yllarnda Halep niversitesindeki sergilerekatld. 2004 2005 yllarnda amda dzenlenensergiye sls, nesh ve icazet dallarnda katld.2005 ylnda Rakka ehrinde dzenlenen yarmayanesh dalnda katld ve ikincilik dln kazand.2004 ylnda stanbulda dzenlenen IRCICA HatYarmasna katld.

He started calligraphy as an amateur when he was

10 years old. In 1977, he took riqa lessons from themaster Muhammed Beshir el-Edlebi. In 1983, he wasappointed in University of Aleppo as the calligrapherof Diwan in place of the famous calligrapher ofAleppo Ibrahim er-Rifai. He participated in theexhibitions organized in the University of Aleppoduring the years 1985 1986 1988 and 2003. Heparticipated in the exhibition realized in Damascusin 2004 2005 in the fields of Thuluth, Naskh andIjazat. He participated in the field of Naskh in thecompetition held in Rakka in 2005 and he wasawarded the 2nd prize. He participated in thecalligraphy competition organized by IRCICA inIstanbul in 2004.


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calligraphy katalog karya pemenang perlombaan khat albaraka turk 2007

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