ALBARAKA TRK HAT YARIMASINDAN SEME ESERLER SELECTED ART WORK FROM ALBARAKA TRK CALLIGRAPHY COMPETITION

Yayn Koordinatr Publishing Coordinator

Temel Hazrolu

Tasarm Graphics Design by Ekrem ahin Bask-Cilt Printing-Binding by

Dizgi-Grafik Typesetting-Graphics Design by Tekin Kavcak

ALBARAKA TRK YAYINLARI: 30 KLTR YAYINLARI: 5 ALBARAKA TRK PUBLICATIONS: 30 CULTURAL PUBLICATIONS: 5

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

GR
D u y g u v e d n c e l e r i n i y a z i l e a n l a t m a k i n s a n a z g b i r e y l e m d i r. nsanlk tarihine baktmzda da en nemli gelimeler arasnda yaznn icadn grrz. Ama yaznn icadndan daha da nemli olan, tekml eden insann kendi eseri olan yazy gelitirmesi ve yaznn sanat boyutunu tm zenginlii 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 bilinen gzellikleri kopya etmek deil, gzle grlemeyen mutlak gzeli aray abasdr. Hat sanatna gnl verenlerin hat yazsn bir iletiim arac ve ssleme unsuru olmaktan karp, fevkalade zgn bir sanat olarak gelitirdiklerini ve hat sanatnn dnya sanat tarihinde nemli bir yer almasn saladklarn grmekteyiz. Medeniyetimizin maddede 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 sanat iinde, mimariyi dta brakrsak, en nemli sanat dal Hsn-i Hattr diyebiliriz. Sizler de dereceye giren eserlerimizde greceksiniz ki, harflerin inci gibi satra dizilileri karsnda hayrete dmemek mmkn deildir. Harflerin canll yannda, istifteki yerleri ve durular da mkemmel bir ahengi yanstyor. Harflerin satra mkemmel dizilii, kalem hareketlerinin kvrakl grenleri hayrete drecek mkemmelliktedir. Dik harflerin canllk, yatay harflerin ise devamllk hissi veren zellii herkesi etkileyebilecek seviyededir. Albaraka Trk olarak, hat sanatna olan ilgimiz kkl medeniyetimizin nemli bir mirasna sahip kma bilinci yannda ekonomik amal kurulularn sosyal sorumluluklara sahip olmas gerektiine olan inancmzdan da kaynaklanmaktadr. Kurumlarn, yalnzca asli alanlarnda yaptklar baarl almalarla gelecee tanabilmesi mmkn gzkmemektedir. 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 elinden gelen almalar bugne kadar srdrm ve srdrmeye de devam etmektedir. Bu erevede gemi yllarda bankamzn tertip ettii hat yarmasn, Albaraka Trkn bugne dek hat sanatmza salad desteklerin talandrlmas olarak nitelemek yerinde olacaktr. Bu almalarmz Albaraka Trkn geleneksel sanatlarmza katksnn talandrlmas olarak telakki eder; sz konusu sanatlarmz ihya ve yaatmak iin gayret gsteren herkesin bu ynde bir ivme, bir yldz olmasn dilerim. Sayglarmla, Dr. Adnan Bykdeniz Genel Mdr

INTRODUCTION
It 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 of writing is mans originating his own style of writing in the course of his progression, whereby revealing 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 of fact, everything is an outward reflection of not of what is actually seen but the enthusiasm to describe what is desired to be seen. As has been eloquently remarked by Roger Garaudy, a contemporary thinker, Art is not copying those beauties that 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 have promoted calligraphy from being a means of communication and ornament to being an extraordinarily exclusive art, whereby ensuring it to find a significant niche in the worlds history of art. Our calligraphs giving their colour and sound to our civilizations architectural quality exemplified in material are cultural heritages that reflect the delicate pleasure and aesthetical understanding that paint them on walls. If we compare our deep-rooted civilization to a tree, we can say that Calligraphy-with the exclusion of architecture -is of the most outstanding arts that make the main branches. You also will witness in our prize-winning works that one cannot help being amazed against the letters having been strung like pearls on lines. Apart from the vividness of letters, 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 of the pen are amazingly excellent. The upright letters vividness and the slant ones quality that gives an impression of continuity really inspire beholders. As Albaraka Turk, our interest in calligraphy originates from our belief that those institutions with economic targets should also undertake social liabilities apart from the conscience of supporting an important heritage of our deep-rooted civilization. It does not seem feasible that institutions could be carried to future by means of their achievements solely in their actual fields. Of course, it is noteworthy being the first institution in interestfree banking in Turkey, yet it is not sufficient alone. Our Institution, as Albaraka Turk, has ever been endeavouring with its best for the revivification and evaluation of the cultural accumulation of our civilization district along with its gaining motion and variety and ultimately its being promoted. Within this frame, it would be appropriate to qualify this Calligraphy Contest, which we have organized on occasion of the 20th Anniversary of our Institution, as the crowning of the contributions of Albaraka Turk to this art of ours. Considering our Contest as the crowning of the contributions of Albaraka Turk to our traditional arts, I wish everybody that endeavours to revivify and promote our arts be an inspiration and star in this direction. Best regards, Dr. Adnan BYKDENZ General Manager

NSZ
Kurn- Kerim Hicazda nazil oldu, Msrda okundu, stanbulda yazld. Sanat; ilh srlar ve Mutlak Gzeli araytr. Hat sanat; mimari, musiki ve edebiyat gibi medeniyetimizi oluturan temel talardan biridir. Mimari ve hat ayn dili konuan iki ayr sanat daldr. Ancak, hat sanat mimari ile ayn dili konuan sanat olmasna karn, hat sanat temaa edilecek bir mimari olarak bizim Medeniyetimize mnhasr has bir sanattr. Medeniyetimizin yazl bir medeniyet olarak adlandrlmasnn sebebi de hat sanatdr. nk medeniyetimize ait her eser en gzel hat yazlar ile sslenmitir. Kadme gre hat sanat; Cismani aletlerle meydana getirilen ruhani bir hendesedir. Bunun iindir ki, hat sanat, nokta hesabyla oluan harf boylar, kavisleri, meyilleri, satr aralar, istifleri ve kamn kt zerindeki mkemmel kvraklnn ortaya koyduu byl hendesesiyle herkesi kendisine hayran brakmaktadr. Albaraka Trk olarak ekonomik bir kurulu olduumuz gereini unutmadan, gerek varoluun ve gelecee tann kltr ve sanat alannda bir iz, bir niane brakmaktan getiinin bilincindeyiz. Bu erevede, kuruluumuzun 20. yl mnasebetiyle sosyal sorumluluklarmzn bir gerei olarak, hat sanatnn yaatlmas, gelitirilmesi, hat zevkinin tesisi ve zendirilmesi iin; hat sanatna gnl verenleri bir nebze olsun tevik ederek bu sanata yeni eserler kazandrmak ve bunlar yeni kuaklara ulatrmak, bu gzide sanatmza hak ettii alakay salamak amacyla 2005 senesinde bir hat yarmas tertip etmitik. Yarmann, aslnda ulusal lekte planlanm olmasna ramen, organizasyona yurtdndan da ilgi muazzam oldu. Cel Sls, Sls, Sls-Nesh, Cel Talk ve Cel Divn olmak zere 5 dalda dzenlenen msabakaya Trkiyeden 110, yurtdndan ise 8 lkeden 44 eser olmak zere toplam 154 eser katlmt. Bu eserlerden Albaraka Trk zel dl de dahil 17 eser Jri yeleri tarafndan dereceye layk grlm ve 23 eser de Tevik dl almaya hak kazanmt. Bu vesileyle deerli stad hattatlardan oluan jri yelerine, yarmaya katlan tm hattatlara ve dl kazananlara tebrik ve kranlarmz sunarz. imdi sizlere Albaraka Trk Hat Yarmasnda dl alm bu eserlerin bir ksmn tezhiple sslenmi olarak sunuyoruz. Daha mutlu ve daha gzel yarnlarda bulumak dileiyle... Sayglarmzla, Temel Hazrolu Yayn Koordinatr

FOREWORD
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 the pillars that form our Civilization like architecture, music and literature. Architecture and Calligraphy are two separate branches of art that speak the same language. Nevertheless, although the Art of Calligraphy speaks the same language as the Art of Architecture, the Art of Calligraphy is an art peculiar to our Civilization as architecture to be observed. As a matter of fact, the reason why our Civilization is called a written civilization is the Art of Calligraphy. For every work of art pertaining to our Civilization is ornamented with the best calligraphs. According to Kadim, the Art of Calligraphy is a spiritual geometry realized with material tools. It is for this reason that with sizes of letters formed with the calculation of dots, curved lines, slants, spaces between lines, arrangements and the fascinating geometry depicted with the reed-pen on paper with its wonderful elegance, Art of Calligraphy amazes every beholder. As Albaraka Turk, we are aware-without neglecting the fact that we are a finance institution-of the fact that the real existence and conveyance to future can be attained through 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 our establishment in 2005, we have organized this Calligraphy Contest so that the Art of Calligraphy can be advanced and promoted; that pleasure in calligraphy can be established and encouraged; that the volunteers in the Art of Calligraphy are inspired with a view to earning this art new works whereby carrying them to future generations; and that this exclusive art of ours regains due interest. Although the Contest was in the first place planned within home, the interest from abroad 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 Special Prize-of the calligraphs were deemed to merit prizes by the Jury, while 23 thereof received Mentions. On this occasion, we should feel obliged to thank the Jury, composed of esteemed Masters of Calligraphy and 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 won prizes in Albaraka Trk Calligraphy Competition. Looking forward to meeting on happier and better days in future Best regards, Temel Hazrolu Publishing Coordinator

HAT SANATINA DAR

Hat sanat, kam kalem ve is mrekkebinin ibirlii ile insan elinin vcude getirdii bir izgiler saltanatdr. Basit izgilerin bylesine iirlemesi, dorusu olur ey deildir ve slamn devam edegelen bir mucizesidir. Dnyada bu kadar eitli yaz varken ve hepsi de kendine gre gzel yazlabiliyorken, nasl olmu da sadece slam yazs gerekten benzeri bulunmayan bir sanat haline gelivermi? Onun sahip olduu bu byleyici estetik nereden douyor? Bunlarn cevabn Hz.Alinin hikmet dolu u sznde 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 kvrakl ve birbirlerine bitimekle kazandklar ekil zenginlii, hele ayn ibarenin muhtelif istiflerle yazlabilmesi, slam yazsna sanatn ilk art olan sonsuzluk ve yenilik kapsn daima ak brakmtr. Bir harf, yalnz olarak, icap ederse birka trl yazlabildii gibi; kelimenin banda, ortasnda ve sonunda bulunuuna gre bnye deiikliine uramakla pek ok ekil zenginlii kazanr. Bir hayli hat eidi olduu da gz nne alnrsa, bu szlerimizin manas daha iyi anlalr. Bu mucizevi yazya hak ettii emei vermek Osmanl Trklerine nasip olmutur. O kadar ki, Arab yazs gibi dar mana tayan bir tarif yerine slam yazs demeyi tercih etmeseydik ve mutlaka bir millete ml etmek gayretinde olsaydk, buna Trk yazs dememiz, gerei ifade ederdi. Zira, bir da kadar yksek ve geni olan bu yaz sistemini hangi etek noktasndan alp ahikasna kardmz, insafla bakan herkes kabul ve tasdik eder. Bir baka deyile, hat, eer Osmanl Trknn eline gemeseydi hsn-i hat (gzel yaz) olmak yolunun balangcnda boynu bkk kalrd. nk slami Trklmz, tarih boyunca, o yaz gzelini canan gibi sevmi, elinden brakmamtr. Belli kalptaki byk ve kk harflerden meydana gelen Latin alfabesinde, slam yazsndaki estetik kabiliyetin biraz olsun bulunabileceini dnmek bile yersizdir. Ayn ekilde ok zengin, fakat birlemeyen gruplardan meydana gelen Uzak Dou (in, Japon) alfabe sistemleri de hoa giden grntlerine ramen, slm yazs karsnda ok yavan kalr. Nihayet, Mslman leminin minyatr dnda tasvire kar ilgi duymay, resim zevkinin de yaz sanatnda tecellisine vesile olmutur. Hem okunup 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 slamiyetin ilk asrlarnda gzel yaz mefhumu bu manaya alnyordu. Yalnz okuma yazma vastas 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) ad verilen ve daha nceden ekillenmi olan sls, nesih, muhakkak, reyhan, tevk, rka nevilerini btn kaideleriyle tamamlayp yazmay baard.

ABOUT CALLIGRAPHY
Calligraphy is an art of lines produced by man with his hand in cooperation with a reedpen 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 many kinds of writings in the world and they can be written in elegant styles within their characters, the Islamic Writing has turned out to be a peerless, exclusive art? Where did its fascinating aesthetic originate? In fact, we can find the reply in Caliph Alis following sagacious statement: Writing is secret in the Masters instruction; it becomes perfect through much practice and lasts in obedience to the Religion of Islam. As a matter of fact, the role of this spiritual might of calligraphy is very great on its prevalence in the world of arts. What is more, the unique elegance of letters and the richness of form they gain through as they join with each other and, further, the fact that the same expression can be written in various orders have ever ensured open the door of endlessness and renovation, the first condition of art, on behalf of the Islamic writing. As a letter can be written in various styles alone if so needed, the fact that it undergoes changes in itself according to its position in the word - that is at the beginning, in the middle or at the end it earns a great variety of forms. Given that there exist a great number of styles of 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 such an extent that, if we had not preferred to call it Islamic Writing instead of Arabic Writing, which is quite a narrow definition, and yet if had attempted to ascribe it to a nation 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 and carried to the climax this writing system, which is as high and wide as a mountain. In other words, if Calligraphy had not been transferred to Ottoman Turks, it would have been sad at the beginning of the way of being Husn al-Hatt (Elegant Writing) because our Islamic Turkism has ever loved this graceful writing like his beloved one throughout history and has never given it up. It is inept to think that there would be-even a little of-the aesthetic quality of the Islamic Writing in the Latin Alphabet, which is composed of small and capital letters in certain shape. Likewise, in spite of the their elegant appearances, the alphabetic systems of the Far East (China, Japan, ), which are made up of groups that are very rich but do not join, are incomparable to the Islamic Writing. Eventually, the fact that the Islamic world was not interested in depiction other than miniatures made the pleasure of illustration reflected in the art of writing as well. Being read and taken an admonition 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, the concept of elegant writing was attributed this meaning in the first centuries of Islam. When Calligraphy, which had been used as a means of reading and writing, turned out to be an art after many calligraphers of Amawid and Abbasid periods, especially through the hands of Ibn al-Muqlah (d. 940) and Ibn al-Bawwab (d. 1022), the influences thereof were also observed in places where Islam had spread. Eventually, during the Abbasid sovereignty, Yaqut alMustasimi (d. 1298) managed in Baghdad to complete and write the writing system, which was 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.

Ykutun yetitirdii ve aralarnda Trklerin de bulunduu hat stadlar, onun slubunu btn slam lkelerine yaydlar. Aradan iki asra yakn bir zaman geti. Osmanl Trkleri, Anadolunun byk bir ksmndan sonra stanbulu fethederek, devleti yalnz askeri ve siyasi bakmdan deil, kltr ve sanat cihetinden de ycelie eritirmilerdi.

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 conquest of a large part of Asia Minor, thus having advanced the State to the peak not only from military and political aspects but also cultural and artistic aspects.

Amasyal hattatlardan eyh Hamdullah (1429-1520), nceleri Ykut slubunu en gzel ve mkemmel biimiyle yrtyorken, hamisi ve talebesi Sultan II. Byezidin tevik ve tavsiyesi zerine, Ykutun eserlerini bir estetik kymetlendirmeye tabi tuttu ve kendi sanat zevkini de katarak, bunlardan yeni bir tarz karmay baard. Tahminen 1485 ylnda doan bu eyh Hamdullah slubu ile Osmanl-Trk yaz sanatnda Ykut devri kapanyordu. Nitekim, Kanni Sultan Sleyman anda bu tavr en parlak biimiyle yeniden canlandran Ahmed Karahisrnin (.1556) yaz anlay, kendisinden sonra unutulmu; eyh Hamdullah yoluna kar duramamtr. Ancak Karahisr Mektebinin, cel hattnda, zamanna gre, eyh vadisinden daha baarl olduu muhakkaktr. 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. Buna mukabil, muhakkak ve reyhannin mdevver (yuvarlak) harflerinin azl ve geni oluu yznden benimsenmediini, yava yava unutulduunu, ancak elin melekesini artrmak iin eski hat stadlarna takliden yazlan murakkaalarda rastlandn syleyebiliriz. Bir istisna olarak, muhakkak hattyla Besmele yazlmas deti, zamanmza kadar devam edegelmitir. Alt yaznn dier ikisinden biri olan rka, daha cazip bir slba brnerek hatt- icaze adyla bilhassa icazetnamelerde yer alm, tevki ise unutulmutur. 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 zaman devam etti. Nihyet, XVII. asrn ikinci yarsnda stanbulun sanat ufku yeniden bir hat nuruyla aydnland. Hfz Osman (1642-1698) adndaki bu hat dehas, vaktiyle eyh Hamdullahn Ykuttan yer yer seip toplad yaz gzelliini bir elemeye tabi tuttu ve eskisine gre daha da safiyet kazanan, kendine has bir iveyi ortaya koyarak, o vadide yazmaya balad. Artk eyh slbu, yerini Hfz Osmannkine terk ediyordu. Hat sanatnda bu stadn at r btn hametiyle srp giderken, ondan bir asr sonra gelen smail Zhd (.1806) ve kardei Mustafa Rkm (1758-1826), Hfz Osmann en mkemmel yazlarndan, ayr zamanlarda ve kendi zevklerine gre birer ive kardlar, en gzel harf ve tavrlar elde etmesini bildiler. O devre kadar sls hatt ile stadane eserler verildii hlde, onun daha kaln ekli olan cel yazsnda estetik ller bir trl salanamyor ve ortaya kt cel rnekleri kyordu. Hfz Osmann bile yazd cel yazlar onun anna layk deildi ama, o devirde bu kadar yazlabiliyordu. Ancak Mustafa Rkm, sls ve nesih yazlarnda olduu gibi, cel slsde de gerek harf, gerekse istif mkemmeliyeti ile gelmi gemi btn hat sluplarnn zirvesine kt; Hfz Osman anlayn slsden celye aktarmasn bildi. Mustafa Rkm, padiah turalarn da slah ederek, onlar gzelliinin son noktasna getirip brakmtr.

While Sheik Hamdullah (1429-1520), of the Calligraphers of Amasya, was first performing Yaquts Style in its best and perfect form, upon the inspiration and advice of Sultan Bayezid II, the sponsor and a student of his, he subjected the works of Yaqut to an aesthetic evaluation and-also adding his own artistic pleasure thereto-managed to fashion a new style therefrom. With that Style of Sheik Hamdullah, which emerged in circa 1485, the Age 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 its brightest form during the reigning era of Sultan Sulaiman the Legislator, was forgotten after 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 successful to 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, which were transferred by way of Yaqut, spread fast because they very much suited Turkish pleasure; and different from the earlier age, particularly the Calligraphy of Naskh began to be used in the writing of the Noble Koran. On the other hand, we can say that the Styles of Muhaqqaq and Rayhani were not adopted because of the scarcity of round letters therein and their being wide and that they were forgotten gradually; nevertheless, they are seen in such Muraqqaahs that were written in imitation of former masters of calligraphy with a 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 Style of Riqah, of the two other ones of the six styles of writing, became more attractive a form and was particularly used Ijazatnamahs (Diplomas) under the title of Hatt al-Ijazah while Tawqih was forgotten. Those who were trained after Sheik Hamdullah were always eager to write like him to such a degree that the achievement of famous calligraphers began to be mentioned as He wrote like Sheik or Hes Sheik al-Thani (Sheik Hamdullah the Second), which case continued for over 150 years. Eventually, in the second half of the XVII. century, the horizon of art of Istanbul was illumined with a new light of calligraphy. This genius of calligraphy called Hafiz Osman (1642-1698) scrutinized the elegant writing Sheik Hamdullah had earlier occasionally selected from Yaqut and developed an original style that was more refined than the former 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 Art of Calligraphy was underway in all its glory, Ismail Zuhdi (d. 1806) and his brother Mustafa Raqim (1758-1826), whocame a century after him,originated separate styles from the most graceful writings of Hafiz Osman at different times after their own pleasure, producing the most elegant letters and styles therein. Although masterly works of calligraphy had been produced before that period in the Style of Thuluth, aesthetical measures were not achived in the Style of Cali, a thicker form thereof, and therefore inelegant examples of Cali were produced. In fact, even those calligraghs written by Hafiz Osman in Salih style did not suit his fame, but that was what could be accomplished in that period. Nevertheless, Mustafa Raqim excelled the styles of calligraphy of all times with not only his letters but also the perfection of arrangement in Salihs as well as in his calligraphs in Thuluth and Naskh; He managed to transfer Hafiz Uthmans concept from Thuluth into Cali. What is more, Mustafa Raqim improved Sultans imperial monograms to their ultimate elegance.

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 ive vermi, cel sls istifini doldurmakta kullanlan yardmc iaretleri, ayrca rakamlar en cazip biimde yazmay baarmtr. Onun ada olan veya sonradan yetien arambal Hac rif Bey (.1892), Nazif Bey (1846-1913), mer Vasf (1880-1928) ve kardei Emin Yazc (1883-1945), smail Hakk Altunbezer (1873-1946), Halim zyazc (1898-1964), Mcid Ayral (1891-1961) ve Hmid Ayta (1891-1982) gibi stadlar, celde hep bu sluba sadk kalmlar veya kalmaya almlardr. Rkmla ayn devirde yaayan Mahmd Celleddin (.1829) de sls ve nesih yazlarnda Hfz Osmandan kendi zevkine gre bir ive alp bunu gelitirmi, metanetli bir yazya shib olmutur. Fakat bu slb celye dnnce katlar, sert bir hl alr. Onun iin Mahmd Celleddin, Rkmn karsnda cel yazsyla hi tutunamamtr. Byk hattat ve musiki stad Kadasker Mustafa zzet Efendi (1801-1876) ve onun yetitirdii efik Beyle (1819-1880) Abdullah Zhd Efendi (.1879) ve Muhsinzde Abdullah Bey (1832-1899), Hfz Osman-Celleddin-Rkm karm bir slupta karar klmlarsa da, onlarla ada olan evk Efendi (1829-1887), sls-nesih yazlarn Hfz Osman ve Rkmdan ald ilhamla, o devre kadar grlen en yce seviyeye karm ve bu yazlarda son merhale olarak kalmtr. Onun rencilerinden Bakkal rif (1836-1909) ve Fehmi (1860-1915) efendilerle, Smi Efendinin talebesi Kmil Akdik (1861-1941), bu yolun gzide temsilcilerindendir. rif Efendiden hat mek eden Aziz Efendi (1871-1934) de, davet olunduu Msrda, evk Efendi tavrn yaymtr. 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 sevyeye XIX. asr sonlarnda ulatn kaydedip biraz da talk hattndan sz edelim: XV. asrn ikinci yarsndan beri kullandmz, randa nestalk adyla anlan ve Osmanllarda sadece talk denilen bu yaz nevinin bizde hakkyla ele aln, rann mruf nestalk stad 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 sa yan felli doduu iin sol eliyle yazdndan Yesr lakabyla anlan hat dehmz Mehmed Esad Efendi (.1798), mdn en gzel harflerinden seip onu ive olarak ald ve bylece bir Trk Talk Mektebi dodu. Onun olu Yesrzde Mustafa zzet efendi (1770-1849) de bu iveyi btn teferruatyla kaidelerine oturtarak randa da yazlamayan bir Trk cel talk slubunu ortaya koydu. Cel slste olduu kadar talk ve cel talk yazlarnda da stad olan Sm Efendi bu Trk slubunu en mtekmil 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 hareketi vardr ve bunlar, yaznn esasn bozmadan yaplmtr. Mimari, musiki, resim ve tezyn sanatlarmzn, Bat tesiri ile bozulup gerilemesine mukabil, hat sanatnn daima mkemmele gidiinin, kanaatimizce sebebi vardr:

Also, Sami Efendi (1838-1912), a master of Cali who came after Raqim and followed his pathway, applied Ismail Zuhdis Thuluth letters to Cali and added a new style to Raqims path, achieving thereby to write the auxiliary symbols used for filling the Cali Thuluth arrangement and also numbers in most attractive fashion. Such masters who 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 in Cali - or at least tried to do so. Again, Mahmud Celaleddin (d. 1829), who lived in the same period as Raqim, also extracted a style from Hafiz Osman in calligraphs of Thuluth and Naskh in his own pleasure, developed it and accomplished a firm writing. However, this style gets hard and tough when it turns into Salih. Therefore, Mahmud Celaleddin failed to stand against Raqim with his Salih writing. Although Kadasker Mustafa Izzet Effendi (1871-1876), a great master of calligraphy and music, and efik Bey (1819-1880) and Abdullah Zuhdi Efendi (d. 1879), whom he trained, and Muhsinzade Bey (1832-1899) made up their mind in a style that was a mixture 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 of fact, Bakkal Arif Efendi (1836-1909) and Fehmi Efendi (1860-1915) of his students and Kamil Akdik (1861-1941), a student of Sami Efendi, were of the select representatives of 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 Rza Efendi (1849-1920), who worked at the School for Kadasker, is the last unforgettable name to write the Holy Koran in Naskh Style. Having remarked that the writings of Deewani and Cali Deewani, which were also used in all official transactions, reached the most elegant level towards the end of XIX. century, we would now like to make a little mention of the Style of Taliq: The right and proper use of this Style of Calligraphy, which we had been using from the second half of the XV. century, which was mentioned as NasTaliq in Iran and known as Taliq by the Ottomans, took place after Imadul Haseni (d. 1615), a Persian Master in the Style of NasTaliq. 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 Imad of Anatolia). Lastly, our Genius of Calligraphy Mehmed Esad Efendi (d. 1798), who has been mentioned as Yesari for he could write with his left hand as he was paralysed on the right side, selected from the best letters of Imad and made it a Style, thus giving birth to the Turkish School of Taliq. Further, his son Yesarizade Mustafa Izzet Efendi (1770-1849) settled this Style upon its pillars in all details and originated the Turkish Cali Taliq Style, which could not be written even in Persia. Sami Efendi, who was a master in the styles of Taliq and Cali Taliq as well as Cali Thuluth, had this Turkish style 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 Art of Calligraphy, which have been accomplished without disturbing the quintessence of the writing. Contrary to the fact that our artists in architecture, music, painting and ornamentation have been corrupted and receded under the influence of the West, we assume that the reasons lying behind the Calligraphic Arts ever getting perfect are as follows:

1- Bnyesine tesir edebilecek, benzeri bir sanatn Avrupada bulunmay, 2- slup sahibi hattatlar elinde usta-rak esasna gre salam kaidelerle nesilden nesile 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 aheseri olarak kt zerine stanbulda aksetmitir. slam Peygamberinin sz incileri olan hadisler de, yine bu beldede inci misali yazlagelmitir. Yalnz onlar m; divanndan fermanna, mermer stne hakkedilmi eme kitabesinden mezar tana kadar her biri, isimlerini burada ayr ayr yad etmeye imkan bulamadmz hat sanatkrlar tarafndan, tarihe beldetn-tayyibetn (bir gzel ehir) olarak geen stanbulun bu ismine layk bir biimde, gzellii grebilenlerin nazarlarna sunulmutur. lkemizde, tabiatyla eski aaas kalmayan hat sanat, son yllarda yetien gen hattatlarn gayreti ve taze merakllarn ilgisi ile yeniden gelime yoluna girmi, tarihe karan bir sanat olmaktan kmtr. Albaraka Trkn tertipledii hat msabakasnda kazanp dereceye giren genler de bu szlerimizin doruluuna delil oluturmaktadr.

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 calligraphers as 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 revealed in the Hejaz, recited in Egypt and written in Istanbul. In fact, the miracle of Quran has been 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 this city. 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 marbles have been presented by Artists of Calligraphers whose names we are here unable to mention 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 to flourish anew through the endeavour of those young calligraphers that have been raised during the recent years and the interest of fresh champions thereof, whereby quitting being an art of the past. Last but not least, the young prize-winners in the Calligraphy Contest organized by Albaraka Trk confirm the truth of our words. Prof. M. Uur Derman, President of the Jury of Albaraka Turk Calligraphy Contest

Prof. M. Uur Derman Albaraka Trk Hat Yarmas Jri Bakan

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19

Jawad Khouran (ran, 1977) zel dl

23

Ferhat KURLU (Ordu, 1976) Cel Sls 1.lik dl

24

Muhammed D. CELLL (Halep/Suriye, 1957) Cel Sls 2.lik dl

Wissam SHAWKAT MATTI (Basra/Irak, 1974)

25

Cel Sls 3.lk dl

26

mer Faruk ZOUL (Erzurum, 1968) Cel Sls 3.lk dl

28 27
Ahmet FARIS RIZIG (Msr, 1980) Cel Sls Tevik dl

Beatrice Hilal ZMECOLU (Fransa, 1968) Cel Sls Tevik dl

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

33

Ferhat KURLU (Ordu, 1976) Sls 1.lik dl

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Jawad Khouran (ran, 1977) Sls 2.lik dl

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

35

Ziyad Haydar AL-MUHANDIS (Irak, 1967)

37

Nuh El-HAMD (Suriye, 1968) Sls Tevik dl

Sls Tevik dl

36

Sls Tevik dl

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Haysem EL-HAMADE (Suriye, 1970) Sls Tevik dl

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

44

Betl KIRKAN (stanbul, 1971) Sls-Nesh 2.lik dl

Ziyad Haydar AL-MUHANDIS (Irak, 1967)

43

Sls-Nesh 1.lik dl

45

Sls-Nesh 3.lk dl

46

Emine SAMAN (stanbul, 1968) Sls-Nesh Tevik dl

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

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

51

Tahsin KURT (Van, 1965) Cel Talk 1.lik dl

47

Sls-Nesh Tevik dl

48

Sls-Nesh Tevik dl

52

Ali Rza ZCAN (Zonguldak, 1968) Cel Talk Tevik dl

55

Khaled EL-SAE (Suriye) Cel Divn 1.lik dl

56

Enver Abdusselam AL HALAVN (Halep/Suriye, 1966) Cel Divn 2.lik dl

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Mustafa PARILDAR (anlurfa, 1982) Cel Divn Tevik dl

JR YELER MEMBERS OF THE JURY

1. Prof M. Uur DERMAN 2. Hseyin KUTLU 3. Hasan ELEB 4. Fuad BAAR

ALBARAKA TRK ZEL DL SPECIAL PRIZE OF ALBARAKA TRK

Kurn- Kerm: Kasas Suresi 77. Ayet

nrndGE oG nnrMnG %nnc rprMnG nh

Trke Meali: Allah sana nasl iyilik ettiyse sen de yle iyilik et. Hattat: Jawad Khouran (ran, 1977) Tezhip: Nilfer Kurfeyz Selim Salam Albaraka Trk 2005 Hat Yarmas zel dl

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CEL SLS CALI THULUTH

Kurn- Kerm: Bakara Suresi 276. Ayet

pnbnsdG pHrojnh GnHudG oG onrnj m*KnG mQsnc soc tpoj n oG nh

Trke Meali: Allah, faizi eksiltir, sadakalar ise bereketlendirir. Allah kfrde ve gnahta srar eden hi kimseyi sevmez. Hattat: Ferhat KURLU (Ordu, 1976) Tezhip: Nilfer Kurfeyz Selim Salam Albaraka Trk 2005 Hat Yarmas Cel Sls 1.lik dl

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Hadis-i erf: Buhari

prndrG prnY pa onG .ppNGn prnY pa orndrG nGnOne

Trke Meali: Kul kardeine yardm ettii srece Allah da onun yardmcsdr. Hattat: Muhammed D. CELLL (Halep/Suriye, 1957) Tezhip: Hande Berra Albaraka Trk 2005 Hat Yarmas Cel Sls 2.lik dl

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Hadis-i erf: Buhari

prndrG prnY pa onG .ppNnG prnY pa orndrG nGnOne

Trke Meali: Kul kardeine yardm ettii srece Allah da onun yardmcsdr. Hattat: Wissam SHAWKAT MATTI (Basra/Irak, 1974) Tezhip: Glnur Duran Albaraka Trk 2005 Hat Yarmas Cel Sls 3.lk dl

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Hadis-i erf: Buhari

prndrG prnY pa onG .ppNnG prnY pa orndrG nGnOne

Trke Meali: Kul kardeine yardm ettii srece Allah da onun yardmcsdr. Hattat: mer Faruk ZOUL (Erzurum, 1968) Tezhip: Glnihal Kpeli Albaraka Trk 2005 Hat Yarmas Cel Sls 3.lk dl

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Hadis-i erf: Buhari

prndrG prnY pa oGn .ppNGn prnY pa orndrG nGnOne

Trke Meali: Kul kardeine yardm ettii srece Allah da onun yardmcsdr. Hattat: Ahmet FARIS RIZIG (Msr, 1980) Tezhip: Ayten Tiryaki Albaraka Trk 2005 Hat Yarmas Cel Sls Tevik dl

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Kurn- Kerm: Furkan Suresi 67. Ayet

Goaproj rnd GonrfnCG Gn%PpG nj*sdG nh .keGnnb npdP nrnH nnc nh Ghoornj rnd nh $
Trke Meali: Onlar ki, harcadklar zaman ne israf ederler, ne de cimrilik ederler. Bunun ikisi arasnda orta bir yol tutarlar. Hattat: Beatrice Hilal ZMECOLU (Fransa, 1968) Tezhip: Cemile Baybura Albaraka Trk 2005 Hat Yarmas Cel Sls Tevik dl

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Hadis-i erf: Buhari

prndrG prnY pa onG .ppNnG prnY pa orndrG nGnOne

Trke Meali: Kul kardeine yardm ettii srece Allah da onun yardmcsdr. Hattat: Ali Rza ZCAN (Zonguldak, 1968) Tezhip: ehnaz zcan Albaraka Trk 2005 Hat Yarmas Cel Sls Tevik dl

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SLS THULUTH

Kurn- Kerm: Bakara Suresi 275. Ayet Trke Meali: Faiz yiyenler (kabirlerinden) ancak eytann dokunup arpt kimsenin kalkt gibi kalkarlar. Bu onlarn Alveri de faiz gibidir demeleri yzndendir. Halbuki Allah, alverii helal, faizi haram klmtr. Bundan byle, kime Rabbinden bir t gelir de yaptndan vazgeerse, gemite olan kendisinindir ve ii de Allaha kalmtr. Kim de yeniden (faizcilie) dnerse, ite onlar cehennemliktir, onlar orada srekli olarak kalacaklardr. Hattat: Ferhat KURLU (Ordu, 1976) Tezhip: Zehra Durmu Albaraka Trk 2005 Hat Yarmas Sls 1.lik dl

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Kurn- Kerm: Kasas Suresi 76-77. Ayetler Trke Meali: Karun, Musann kavminden idi de, onlara kar azgnlk etmiti. Biz ona yle hazineler vermitik ki, anahtarlarn gl-kuvvetli bir topluluk zor tard. Kavmi ona yle demiti: marma! Bil ki Allah marklar sevmez. Allahn sana verdiinden (Onun yolunda harcayarak) ahiret yurdunu iste; ama dnyadan da nasibini unutma. Allah sana nasl iyilik ettiyse sen de yle iyilik et. Yeryznde bozgunculuu arzulama. phesiz ki Allah, bozguncular sevmez. Hattat: Jawad Khouran (ran, 1977) Tezhip: Ayten Tiryaki Albaraka Trk 2005 Hat Yarmas Sls 2.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 ve Allah iin gzel bir dn verirseniz elbette sizin gnahlarnz rterim ve sizi altlarndan rmaklar akan cennetlere sokarm. Bundan sonra iinizden kim inkr ederse, phesiz dz bir yolun ortasndan sapm olur. Sadakalar aktan verirseniz ne gzel! Eer onlar yoksullara gizlice verirseniz sizin iin daha iyidir ve sizin gnahlarnzn bir ksmn rter. Allah yaptklarnzdan haberdardr. Hattat: Bijar El-Hac Kerim EL-ERBILLI (Irak, 1963) Tezhip: Hande Berra Albaraka Trk 2005 Hat Yarmas Sls Tevik dl

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Kurn- Kerm: Bakara Suresi 267. Ayet Trke Meali: Ey iman edenler! Kazandklarnzn ve rzk olarak size yerden kardklarmzn iyisinden, temizinden fakirlere verin. Size verilse gznz yummadan alamayacanz kt mal hayr diye vermeye kalkmayn. Biliniz ki Allah zengindir, vgye layktr. Hattat: Ziyad Haydar AL-MUHANDIS (Irak, 1967) Tezhip: Zehra Durmu Albaraka Trk 2005 Hat Yarmas Sls Tevik dl

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Kurn- Kerm: Bakara Suresi 261. Ayet Trke Meali: Mallarn Allah yolunda harcayanlarn rnei, her baakta yz tane olmak zere yedi baak bitiren tek bir tane gibidir. Allah dilediine kat kat fazlasn verir. Allah cmerttir ve her eyi bilendir. Hattat: Nuh El-HAMD (Suriye, 1968) Tezhip: Hande Berra Albaraka Trk 2005 Hat Yarmas Sls Tevik dl

37

Kurn- Kerm: Bakara Suresi 261. Ayet Trke Meali: Mallarn Allah yolunda harcayanlarn rnei, her baakta yz tane olmak zere yedi baak bitiren tek bir tane gibidir. Allah dilediine kat kat fazlasn verir. Allah cmerttir ve her eyi bilendir. Hattat: Haysem EL-HAMADE (Suriye, 1970) Tezhip: Ayenur Kadakveli Albaraka Trk 2005 Hat Yarmas Sls Tevik dl

38

SLS-NESH THULUTH-NASKH

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) slamn dosdoru yoluna ulatran ve geimi yeterli olup da buna kanaat eden kimse, ne kadar mutludur... (Tirmizi, Zhd 35) Faiz yiyenler (kabirlerinden) ancak eytann dokunup arpt kimsenin kalkt gibi kalkarlar. Bu onlarn alveri de faiz gibidir demeleri yzndendir. Halbuki Allah, alverii helal, faizi haram klmtr. Bundan byle, kime Rabbinden bir t gelir de yaptndan vazgeerse, gemite olan kendisinindir ve ii de Allaha kalmtr. Kim de yeniden (faizcilie) dnerse, ite onlar cehennemliktir, onlar orada srekli olarak kalacaklardr. (Bakara 275) (Zenginlerin) Onlarn mallarnda isteyen fakirlerin de iffetinden dolay istemeyen fakirlerin de hakk vardr. (Mearic 24-25) Hattat: Abdurrahman Ahmed El-ABD (Halep/Suriye, 1973) Tezhip: Arzu Tozlu Albaraka Trk 2005 Hat Yarmas Sls-Nesh 1.lik dl

43

Kurn- Kerm: Fatr Suresi 29. Ayet Hadis-i erf: Buhari, Zekat 18, Savm 4, Tirmizi, man 8 Trke Meali: Allahn Kitabn okuyanlar ve namaz klanlar ve kendilerine verdiimiz rzktan (Allah iin) gizli ve ak sarf edenler, asla zarara uramayacak bir kazan mit edebilirler. (Fatr 29) 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, Zekat 18) Sadaka, suyun atei sndrd gibi gnahn ateini sndrr. (Tirmizi, man 8) Sadaka vermeyi sevenler sadaka kapsndan (cennete girmeye) davet edilirler. (Buhari, Savm 4) Hattat: Betl KIRKAN (stanbul, 1971) Tezhip: Zehra Durmu Albaraka Trk 2005 Hat Yarmas Sls-Nesh 2.lik dl

44

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. 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, Zekat 18) Sizin en hayrlnz, bor deme konusunda en iyi olannzdr. (Mslim, Mskat 121) Hattat: Ziyad Haydar AL-MUHANDIS (Irak, 1967) Tezhip: Seher Ac Albaraka Trk 2005 Hat Yarmas Sls-Nesh 3.lk dl

45

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 sen de yle iyilik et. (Kasas 77) Namaz kln, zekt verin ve Allaha gzel bir dn verin. Kendiniz iin gnderdiiniz her iyilii, Allah katnda daha hayrl ve sevapa daha byk olarak bulacaksnz. Allahtan af dileyin. phesiz Allah ok balayc, ok esirgeyicidir. (Mzzemmil 20) Allah yolunda harcayn. Kendi ellerinizle kendinizi tehlikeye atmayn. Her trl hareketinizde drst davrann. nk Allah drstleri sever. (Bakara 195) Allah kfrde ve gnahda srar eden hi kimseyi sevmez. (Bakara 276) O takva sahipleri ki, bollukta ve darlk zamanlarnda Allah iin yardm ederler, fkelerini yutarlar ve insanlar affederler. Allah da gzel davranta bulunanlar sever. (li mran 134) Hattat: Emine SAMAN (Eyp/stanbul, 1968) Tezhip: Arzu Tozlu Albaraka Trk 2005 Hat Yarmas Sls-Nesh Tevik dl

46

Hadis-i erf: Buhari, Savm 4, By 15, Zekat 18, Mslim, Mskat 92, Zekat 130, Mskat 129, Tirmizi, Zhd 26 Kurn- 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 fazla bir ey almasn. (Mslim, Mskat 92) Kim emanete (devlet malna) hyanet ederse, kyamet gn, hainlik ettii eyin gnah boynuna asl olarak gelir. (Ali mran 161) Zenginlik mal okluundan ibaret deildir. (Hakiki) Zenginlik, gnl zenginliidir. (Mslim, Zekt 130) Hi kimse, asla kendi kazancndan daha hayrl bir rzk yememitir... (Buhari, By 15) phesiz her 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 asi olmutur. (Mslim, Mskat 129) Hattat: Bijar El-Hac Kerim EL-ERBILLI (Irak, 1963) Tezhip: Ayten Tiryaki Albaraka Trk 2005 Hat Yarmas Sls-Nesh Tevik dl

47

Kurn- Kerm: Ali mran Suresi 161. Ayet Hadis-i erf: Buhari, Zekt 18, Mslim, Zekt 52, Tirmizi, Zhd 26 Trke Meali: Kim emanete (devlet malna) hyanet ederse, kyamet gn, hainlik ettii eyin gnah boynuna asl olarak gelir. (Ali mran 161) 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 iyilik sadakadr. (Mslim, Zekt 52) phesiz her mmetin bir fitnesi vardr. mmetimin fitnesi (imtihan sebebi) de maldr. (Tirmizi, Zhd 26) Hattat: Mahmud Elbn B. MUHYDDN (Halep/Suriye, 1953) Tezhip: Oya Atila Albaraka Trk 2005 Hat Yarmas Sls-Nesh Tevik dl

48

CEL TALK JALI TALIQ

Beyit: Ziya Paa

rGnrcpG nO nSrQoc rppbnj rnbGnnU nfnrfpG rnG pnr nM rpndhorZhoO rQpppre pOrQnj
nsana sadakat yakr grse de ikrah Yardmcsdr dorularn Hazret-i Allah Hattat: Tahsin KURT (Van, 1965) Tezhip: Hasan Korkmaz Albaraka Trk 2005 Hat Yarmas Cel Talk 1.lik dl

51

Hadis-i erf: Mslim, Zekt 130

sp$d nh pVnndrG mInrnc rnY npdrG nrnd .prsdG nZ npdrG p

Trke Meali: Zenginlik mal okluundan ibaret deildir. (Hakiki) Zenginlik, gnl zenginliidir. Hattat: Ali Rza ZCAN (Zonguldak, 1968) Tezhip: Seher Ac Albaraka Trk 2005 Hat Yarmas Cel Talk Tevik dl

52

CEL DVN JALI DEEWANI

Kurn- Kerm: Bakara Suresi 274. Ayet

pQnsdG nh prsdpH rondGnrenG noproj nj*sdnG rpuHnQ nrpY rogorLnG rnna knpf nnY nh GvpS o .nofnrnj rogn nh rprnnY 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 Albaraka Trk 2005 Hat Yarmas Cel Divn 1.lik dl

55

Kurn- Kerm: Nisa Suresi 29. Ayet

rond GnrenG G%oocrCnJ n Gone$G nj*sdG ntjnG %nj kInQnpJ nonJ rnG s%pG ppWnrdpH ronrnH ronorfnG G%oornJ n nh rorpe mVGnnJ rnY .k*MnQ ropH nnc nG spG
Trke Meali: Ey iman edenler! Karlkl rzaya dayanan ticaret yolu dnda, mallarnz aranzda haksz ve haram yollarla yemeyin. Nefislerinizi de ldrmeyin. phesiz Allah, size kar ok merhametlidir. Hattat: Enver Abdusselam AL HALAVN (Halep/Suriye, 1966) Tezhip: Nilfer Kurfeyz Selim Salam Albaraka Trk 2005 Hat Yarmas Cel Divn 2.lik dl

56

Kurn- Kerm: Tevbe Suresi 79. Ayet

n*peDoG npe n*YusorG nhoprnj nj*sdnG r spG nhopnj n nj*sdG nh pnbnsdG pa oG npnS rorpe nhonrnna rognroL .l*dnG lGnnY rondh rorpe n
Trke Meali: Sadakalar konusunda gnlden veren mminleri ekitiren ve glerinin yettiinden bakasn bulamayanlarla alay edenler yok mu, Allah onlar maskaraya evirmitir. Onlar iin can yakc bir azap vardr. Hattat: Mustafa PARILDAR (Siverek/anlurfa, 1982) Tezhip: Hande Berra Albaraka Trk 2005 Hat Yarmas Cel Divn Tevik dl

57

DL KAZANANLAR AWARD WINNERS

Jawad Khouran
(ran, 1977)

Ferhat KURLU
(Fatsa/Ordu, 1976)

Muhammed D. CELLL
(Halep/Suriye, 1957) Cel Sls 2.lik dl

Wissam SHAWKAT MATTI

(Basra/Irak, 1974) Cel Sls 3.lk dl

zel dl

Sls 2.lik dl

Cel Sls 1.lik dl

Sls 1.lik dl

1977de randa dodu. 1998-2002de randa Hattat Hakim Ghannamn yannda hsn- hat rakl yapt. Daha sonra Hattat Muhammed zayn yannda hsn- hat almak zere stanbula tand. Sls icazetini bir ylda tamamlad ve Hattat Muhammed zayn yannda cel sls eitimi grmeye devam etti. 2004te stanbulda 6. Uluslararas Hsn- Hat Yarmasnda cel sls ve sls hatlarnda birincilik 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 the Calligrapher Hakim Ghannam. Afterwards, he moved to Istanbul in order to practice calligraphy beside the Calligrapher Muhammed zay. He had completed his Thuluth diploma in one year and continued his training beside the Calligrapher Muhammed zay in the field of Jali Thuluth. In 2004, he was awarded the 1st prize in the fields of Jali Thuluth and Thuluth in 6 th Calligraphy Competition held in Istanbul. The exhibitions he had participated in: 2004 Dubai International Arabic Calligraphy Exhibition, 2005 Dubai International Arabic Calligraphy Exhibition.

Ferhat Kurlu 1976da Fatsada dodu. Muzaffer Ecevit Beyden hat sanatna ilgi uyandran ilk sanat bilgilerini ve ilk rik'a derslerini ald.1996da Hattat Hasan elebi Hoca ile sls-nesh mekine balad. 2000 ylnda IRCICAda yaplan icazet treniyle sls-nesh icazetini ald. IRCICA tarafndan dzenlenen 5. Milletleraras Hat Yarmasnda cel sls dalnda 1.lik dl 6. yarmada sls dalnda mansiyon dl ald. 13. Devlet Hat Yarmasnda baar dl, Antik A.. tarafndan dzenlenen Hilye-i erif Yarmasnda cel sls-sls-nesh dallarnda 1.lik dlne layk grld (2005). Bir tanesi Dubaide olmak zere ondan fazla karma sergiye itirak etti. stanbulda ve civar illerde birok cami ve mescidin, emenin kitabe, kubbe, kuak ve mermer yazlarn yazd. 100 civarnda hilye-i erif, 40 civarnda zgn sls, cel sls esere imza att. Ferhat Kurlu was born in Fatsa in 1976. His first inspiring knowledge in callingraphy writting and his first Rika lessons was from Muzaffer Ecevit. 1996, he met the Calligrapher Hasan elebi and started learning Thuluth-Naskh. In 2000 he received his Thuluth-Naskh diploma in the diploma ceremony organized at IRCICA. After a year, he was awarded the 1st prize again in the field of Jali Thuluth in the 5th International Calligraphy Competition organized by IRCICA. In the 6th competition organized by the same institute, he received the honorable mention in the field of Thuluth. He was awarded the award of success in the 13th State Calligraphy Competition and the 1st prize in the fields of Jali Thuluth-ThuluthNaskh in Hilya-i Sharif competition that is organized by Antik A.Sde (2005). He had participated in more than ten joint exhibitions, one of them in Dubai. He had written the inscriptions, domes, beams and marbles of many mosques, fountains in stanbul and surrounding cities. He had written around 100 Hilyai Sharif, around 40 original Thuluth and Jali Thuluth works.

Hat derslerini 1975 ylnda Mahmut Sbn el-Haleb Hoca efendiden ald. 2002 ylnda Abdlhamid ElKtib adna dzenlenen Hat Sanat Yarmasnda cel divn dalnda birincilik dl ald. 2003 ylnda Abdlhamid El-Ktib adna dzenlenen hat sanat yarmasnda sls dalnda ikincilik dl ald. 2003 ylnda Mr md el-Hasan adna dzenlenen 6. Uluslararas Hat Sanat Yarmasnda divn dalnda 3.lk dl ald. 2005 ylnda Abdlhamid El-Ktib adna dzenlenen hat sanat yarmasnda Divn dalnda 3.lk dl ald. Dnyann en byk Kuran- Kerimi olan am Mushafnn drdnc blmnn yazmna itirak etti. He received his calligraphy lessons from Mahmut Sbn el-Haleb in 1975. In 2002, he was awarded the 1 st prize in the field of Jali Deewani in the Competition of Art of Calligraphy organized in the name of Abdulhamid el-Katib. In 2003, he was awarded the 2nd prize in the field of Thuluth in the Competition of Art of Calligraphy organized in the name of Abdulhamid el-Katib. In 2003, he was awarded the 3rd prize in the field of Deewani in the sixth international Competition of Art of Calligraphy organized in the name of Mir Imad el-Hasani. In 2005, he was awarded the 3rd prize in the field of Deewani in the Competition of Art of Calligraphy organized in the name of Abdulhamid el-Katib. He had participated in inscribing the fourth section of the Damascus Quran, which is the largest Quran in the world.

1974te Basrada dodu. 1996da Basra niversitesi naat Mhendisliini bitirdi. Irak Mhendisler Birlii, Irakl Hattatlar Cemiyeti, Irak Gzel Sanatlar Cemiyeti, rdn Hattatlar Cemiyeti, Emirlikler Gzel Sanatlar Cemiyeti, Dubai Arap Hattatlar Gurubu yelikleri bulunmaktadr. 1989da Badat Arab Hsn- Hat Milli Sergisi Mkemmellik dl ald.1993te Basrada ilk, 1994te ikinci kiisel sergisini at. 1996da Basra Arapa Hat Sergisi 2.lik dln ald. 1998, Badat Uluslararas Arap Hat Sanat & slami Ssleme Sanat Festivali, 2.lik dln ald. 2000 ylnda stanbul Uluslararas Arap Hat Sanat Yarmas tavsiye dln ald. Bunlardan baka eitli yarmalardan dereceleri de bulunan sanat Arap hsn- hat sanatnda 18 yllk tecrbeye sahiptir. He was born in 1974 in Basra. In 1996, he had completed civil Engineering department of Basra University. He has memberships in Engineers Association of Iraq, Society of Iraqi Calligraphers, Society of Emirates Fine Arts, Dubai Arab Calligraphers Group. In 1989, he was awarded the Perfection Prize of Baghdad Arabic Calligraphy National Exhibition. In 1993, he had his first personal exhibition and in 1994 he had his second personal exhibition in Basra. In 1996, he was awarded the 2nd prize in Basra Arabic Calligraphy Exhibition. In 1998, he was awarded the 2nd prize in Baghdad International Arabic Calligraphy Art Competition & Islamic Ornamentation Art Festival. In 2000, he was awarded the recommendation prize in Istanbul International Arabic Calligraphy Art Competition. Other than these, the artist, who has awards in various competitions, has an experience of 18 years in Arabic Calligraphy Art.

60

mer Faruk ZOUL

(Erzurum, 1968)

Ahmet FARS RIZIG

(Msr, 1980)

Beatrice Hilal ZMECOLU

(Fransa, 1968)

Ali Rza ZCAN

(Zonguldak, 1968)

Cel Sls 3.lk dl 1968 ylnda Erzurumda dodu. 1996da Atatrk niversitesi Kazm Karabekir Eitim Fakltesi Resim Blmnden mezun oldu. Davut Bekta Hocadan sls-nesh dersleri almaya devam etmektedir. He was born in Erzurum in 1968. In 1996, he was graduated from Art Department of Kazm Karabekir Education Faculty of Atatrk University. He is continuing to get Thuluth Naskh lessons from the calligrapher Davut Bekta.

Cel Sls Tevik dl 1980de Suudi Arabistanda doan sanat Msr uyrukludur. Arab hsn- hat diplomas sahibidir. A.R.E. 2003te snfnn birincisi oldu. 2003 retmenlik Yarmasnda birinci oldu. IRCICA, stanbul 5. Uluslararas Arab Hsn- Hat Yarmasnda nclk dln kazand. 2000, 2003 yllar Beinci ve Altnc Uluslararas Arab Hsn- Hat Yarmalarnda ncowage dl kazand. Halen Kltr Bakanl Gzel Sanatlar sektrnde hattat olarak, Kahire Arab Hsn- Hat Akademisinde ve Khalil Agha Okulunda Arapa hsn- hat retmeni olarak almaktadr. The artist, who was born in Saudi Arabia in 1980, i s o f E g y p t i a n n a t i o n a l i t y. H e h a s A r a b i c Calligraphy diploma. He was the first one in the class in 2003 in A.R.E. He also became first in the Competition of Teaching in 2003. He was awarded the 3 rd prize in the 5 th Istanbul International Calligraphy Competition organized by IRCICA. He was awarded three incowage prizes in the 5th and 6th International Arabic Calligraphy Competitions in the years 2000, 2003. currently he is working as a calligrapher in the Ministry of Culture Fine Arts sector and as Arabic calligraphy teacher in Cairo Arabic Calligraphy Academy and Khalil Agha School.

Cel Sls Tevik dl 1968 ylnda Fransann Le Havre ehrinde dodu. 1985de Paristeki Paul Lapie Lisesinin sanat ve edebiyat blmnden mezun oldu. 1988 ylnda Hollandada tant eiyle, eitimini yarda brakarak evlendi ve Tkiyeye yerleti. Lise yllarndan ksmen bilgi sahibi olduu slm diniyle daha yakndan tanp mslman oldu. nceden beri ilgi duyduu uzakdou kaligrafi sanatnn da etkileimiyle Trk hat sanatn renmeye karar verdi. 1995te balad hat sanatnn, sls ve nesh dallarnda Hattat Hseyin Kutludan 2001 ylnda icazet ald ve deiik karma sergilere katld. Halen Ali Paa Trk slm Sanatlar Ktphanesinde faaliyetlerini srdrmektedir. She was born in Le Havre France in 1968. She was graduated from art and literature section of Paul Lapie High School in Paris in 1985. In 1988, she married her husband, whom she had met while she was in Holland, thus, she did not complete her university and she had settled in Turkey. She became acquainted with Islam, of which she had partial information since her high school years, and she converted into Islam. She decided to learn Turkish Calligraphy Art under the influence of Far East Calligraphy Art, which she was interested in for a long time. She received her diploma in 2001 from Calligrapher Hseyin Kutlu in the Thuluth and Naskh field of calligraphy art, which she had started in 1995, and she had participated in various joint exhibitions. The artist, who has two children, is continuing her activities at Ali Pasha Turk Islam Arts Library.

Cel Sls Tevik dl 1988de Mimar Sinan niversitesi Gzel Sanatlar Fakltesi Geleneksel Trk El Sanatlar Blmn bitirdi. 1989 ylnda Klasik Devir Kur an- Kerimlerinin Tezhibli Sayfalar adl teziyle yksek lisans, 1996da da Trk Nestalik Ekol adl eser almasyla sanatta yeterlik mezunu oldu. Prof. Dr. Ali Alparslandan talik, Divn, cel divn, Rika; Hattat Hseyin Kutludan sls-nesh yaz eitlerinden icazetname ald. Kltr Bakanlnn at Devlet Trk Ssleme Sanatlar Yarmalar, IRCICAnn dzenledii uluslararas hat yarmalar ile Japonyada yaplan yaz yarmasnda dller ald. M.S.. Geleneksel El Sanatlar Hat Anasanat Dalnda aratrma grevlisi olarak greve balad. Halen ayn blmde blm bakan yardmcs olarak almaktadr. In 1988, he had completed Traditional Turkish Handcrafts Department of Mimar Sinan University Fine Arts Faculty. He had received his masters degree with his thesis, namely Ornamented Pages of Classical Period Qurans in 1989 and Competency in Art degree with Turkish Naskhtaliq School in 1996. He received his Taliq, Deewani, Jali Deewani, Riqa diplomas from Prof. Dr. Ali Alparslan and thuluth naskh diploma from the calligrapher from Hseyin Kutlu. He had received prizes in State Turkish Ornamentation Arts Competition organized by Ministry of Culture, international calligraphy competitions organized by IRCICA (Research Center for Islamic Art, History and Culture) and calligraphy competition organized in Japan. He started as a research assistant at Traditional Turkish Handcrafts Department of Mimar Sinan University. Currently he is working in the same department as the Assistant of the Director of the Department.

61

Bijar El-Hac Kerim EL-ERBILLI

(Irak, 1963)

Ziyad Haydar AL-MUHANDIS

(Irak, 1967)

Nuh El-HAMD
(Suriye, 1968)

Haysem EL-HAMADE
(Suriye, 1970) Sls Tevik dl

Sls Tevik dl

Sls-Nesh Tevik dl

Cel Talk Tevik dl

Sls Tevik dl

Sls-Nesh 3lk dl

Sls Tevik dl

1991 ylnda hat sanatna mek etti. 1993te IRCICA Hat Sanat Yarmasnda nesih ve icaze dalnda iki mansiyon dlne layk grld. 1995 ylnda stad Yusuf Zunun ve stad Ahmed Abdurrahmandan iki icazetname ald. 1995 ylnda Badat Yksek Hat ve Ssleme Sanat Festivalinde madalya ald. 1996da ise stanbulda IRCICA tarafndan dzenlenen eyh Hamdullah el-Amasi Hat Sanat Yarmasnda nesih dalnda nclk dlne layk gdld. 1999da gerekletirilen Seyyid brahim Hat Yarmasnda nesih dalnda mansiyon dl ald. 2002 ylnda Katar Mushaf Yazm Yarmasnda 1.lik derecesi ald. 2004 ylnda Mir mad el-Hasani Yarmas sls dalnda 3.lk dl ald. 2005te ise Hattat Prof. Dr. Ali Alparslan Hocadan talik alannda icazetname ald. Ayrca sls ve nesih hatlar dalnda stad Hasan elebi ve stad Hseyin Kutlu ve Fuad Baardan da icazetname ald. He learned calligraphy art in 1991. In 1993, he was awarded two honorable mentions in the fields of Naskh and Ijaza in IRCICA Calligraphy Art Competition. He received two diplomas from M a s t e r Yu s u f Z u n u n a n d M a s t e r A h m e d Abdurrahman in 1995. He was awarded a medal in Baghdad Higher Calligraphy and Ornamentation Art Festival. In 1996, he was awarded 3rd prize in the field of Naskh in Shaikh Hamdullah elAmasi Calligraphy Competition which was organized by IRCICA. He was awarded two honorable mentions in the field of naskh in Seyyid Ibrahim Calligraphy Competition that was realized in Istanbul in 1999. In 2002, he was awarded the 1 st prize in the Competition of Inscription of Quran of Qatar. In 2004, he was awarded the 3rd prize in the field of Thuluth in Mir Imad elHasani competition. In 2005, he received his diploma in the field of Taliq, from the calligrapher Prof. Dr. Ali Alparslan. Moreover, he received diploma in the field of thuluth and naskh from the master Hasan ebebi and master Hseyin Kutlu and master Fuad Baar.

niversitede yllarnda stat Yusuf Zennn ile tant. 1995 ylnda hat icazetini bu hocadan ald. 1986 ylnda 1. Uluslararas Yarma, 1987 ylnda Dnya Badat Festivali, 1996 ylnda dzenlenen 4. Uluslararas Yarmaya katld ve Cel Sls dalnda 1.lik dl ile sls dalnda da dle layk grld. 3. Uluslararas Badat Festivaline katld ve Kufe dln ald. 1999 ylnda 5. Uluslararas yarmada Sls ve muhakkik hat sanatlar dalnda iki dl kazand.1998 ylnda Birinci Erbil enliindeki yarmada Irak 1.lik dln ald. 6. Uluslararas Hat Sanat Yarmasnda sls ve Nesh dalnda iki dl kazand. Erbilde 1996 ylnda 1., 2004 ylnda 2. zel sergisini at. During his work life in university, he met the master Yusuf Zennun and he learned very much from him. In 1995, he received his calligraphy diploma from this master. He had participated and won prizes in the 1. international competition of calligraphy organized in 1986, World Baghdad Festival in 1987, 2nd International competition. 3rd International competition. He received two prizes in the field of Thuluth and Muhaqqik in these competitions. In 1996, he participated in the 4th International competition organized in the name of Hamdullah el- Emasi and he was awarded the 1st prize in the field of Jali Thuluth and he was also awarded a prize in the field of Thuluth. He also participated in the 3rd International Baghdad Festival and he received a prize in the field of Kufe. In 1999, he was awarded 2 prizes in the field of Thuluth and Muhaqqik in the 5th International competition in 1998, he received the 1st prize of Iraq the competition that was organized in the First Erbil Festival. He was awarded 2 prizes in the field of Thuluth and Naskh in the 6th International Calligraphy Art Competition. He opened his first private exhibition in 1996 in Erbil and the second exhibition in 2004.

Halepteki retmen okulundan mezun oldu. Abdlhamid El-Ktib Hat Yarmasnda sls hatt dalnda birincilik dln kazand. Rakka ehri, 2004. 2005te ise Abdlhamid el-Ktib Hat Yarmasnda c e l di vn dal nda ncl k dl al d . Suriyede yllk sergilere katld. Hattat Abdullah Hasann derslerine devam ederek ynlendirmelerinden istifade etti. He graduated from teaching school in Aleppo. He was awarded the 1st prize in the field of Thuluth in Abdulhamid el-Katib Calligraphy Competition. Rakka city in 2004. In 2005, he was awarded the 3rd prize in the field of Jali Deewani in Abdulhamid el-Katib Calligraphy Competition. He participated in the annual exhibitions in Syria. He continued the lessons of the calligrapher Abdullah Hasan and he had benefited from his orientations.

Selmu ismiyle bilinen Haysem El-Hammade 1970 doumludur. Balangta hat ile ilgili almalarna byk Trk hattatlarnn almalarna ve kaynaklarna mracaat ederek balad. Sonra Abdullah Hasan Hoca efendinin ynlendirmeleriyle hat sanatna devam etti. almalarn tamamlamak iin Hattat Hasan elebinin derslerine devam etti. IRCICAnn dzenlemi olduu Mr Imd El-Hasen yarmasnda rika hat sanat dalnda dl kazand. Halen Halepte rneklemeli ve uygulamal sanat merkezinde ders vermektedir. Haysem el-Hammade, who is known as Selmu, was born in 1970. In the beginning, he started his works on calligraphy by referring to the works and sources of the major Turkish calligraphers. Afterwards, he continued working on calligraphy under the instructions of the master Abdullah Hasan. He took lessons from the calligrapher Hasan Chelebi in order to complete is works. He was awarded a prize in the field of Riqa in Calligrapher Mir Imad elHasani Competition organized by IRCICA. Currently, he is giving lessons in an illustrated and applied art center in Aleppo.

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Abdurrahman Ahmed El-ABD

(Halep/Suriye, 1973) Sls-Nesh 1.lik dl 1973te Halepte dodu. Hat derslerine 1990 ylnda Hattat Muhammed Dib Celllde balad. Daha sonra bu dersleri, Hattat Ahmed Emin amtann derslerine devam ederek srdrd. Bu arada byk Trk hattatlarn (Muhammed evk ve Muhammed zzet) meklerinden yararland. 2003 ylnda Mir mad elHasan adna dzenlenen yarmaya katld ve nesh dalnda dl ald. 2002 ylnda Abdlhamid El-Ktib adna dzenlenen hat sanat yarmasna katld ve sls-nesh hatt almasyla birincilik dl ald. Yine 2004 2005 yllarnda dzenlenen ayn yarmada nesh hat sanat dalnda 3.lk dl ald. He was born in Aleppo in 1973. He started taking calligraphy lessons in 1990 from the calligrapher Muhammed Dib Cellul. Afterwards, he continued his studies by taking lessons from the calligrapher Ahmed Emin Shanta. Meanwhile, he benefited the lessons of the major Turkish Calligraphers (Muhammed evk and Muhammed zzet). In 2003, he participated in the competition organized in the name of Calligrapher Mir Imad el-Hasani and he was awarded a prize in the field of Naskh. In 2002, , he was awarded the 1st prize in the field of Thuluth and Naskh in Abdulhamid el-Katib Calligraphy Competition. Again in the same competition held in 2004 2005, he was awarded the 3rd prize in the field of Naskh calligraphy.

Betl KIRKAN
(stanbul, 1971) Sls-Nesh 2lik dl 1971 ylnda stanbulda dodu. 1990da Bakrky mam-Hatip Lisesinden mezun oldu. 1991de Hattat Hseyin Kutludan sls-nesh mek etmeye balad. 1995 ylnda icazet ald. Halen Uygulamal Trk slm Sanatlar Ktphanesinde almalarn srdrmektedir. She was born in 1971 in Istanbul. In 1990, she graduated from Bakrky mam-Hatip High School. In 1991, she started taking Thuluth Naskh lessons from the Calligrapher Hseyin Kutlu. She received her diploma in 1995. Currently, she is continuing her studies at Applied Turk Islam Arts Library.

Emine SAMAN
(Eyp/stanbul, 1968) Sls-Nesh Tevik dl 1968de stanbulda dodu. 1986 ylnda Eyp mam-Hatip Lisesinden mezun oldu. 1996da Marmara niversitesi lahiyat Fakltesini bitirdi. Bir sre Eyp Anadolu mam-Hatip Lisesinde retmenlik yapt. 1994te Hattat Hseyin Kutlu Hoca ile hat almalarna balad ve 2001 ylnda sls-nesh icazeti ald. 1999 ylnda Hatice Aksudan tezhip dersleri almaya balad. Halen hat ve tezhip almalarna devam etmektedir. She was born in Istanbul in 1968. In 1986, she graduated from Eyp mam-Hatip High School. In 1996 she graduated from Marmara University, Faculty of Theology. She taught at Eyp Anatolian mam-Hatip High School for a while. In 1994, she started taking calligraphy lessons from the Calligrapher Hseyin Kutlu and she received her Thuluth Naskh diploma in 2001. She started taking ornamentation lessons from Hatice Aksu in1999. She is still continuing her calligraphy ad ornamentation studies.

Mahmud Elbn B. MUHYDDN

(Halep/Suriye, 1953) Sls-Nesh Tevik dl Hat sanatna amatr olarak 10 yanda balad. 1977 ylnda Muhammed Beir el-Edleb Hoca efendiden rika dersi ald. 1983 ylnda Halepli hattat merhum brahim er-Rifnin yerine Dvan Hattat olarak Halep niversitesine tayin edildi. 198519861988 ve 2003 yllarnda Halep niversitesindeki sergilere katld. 2004 2005 yllarnda amda dzenlenen sergiye sls, nesh ve icazet dallarnda katld. 2005 ylnda Rakka ehrinde dzenlenen yarmaya nesh dalnda katld ve ikincilik dln kazand. 2004 ylnda stanbulda dzenlenen IRCICA Hat Yarmasna katld. He started calligraphy as an amateur when he was 10 years old. In 1977, he took riqa lessons from the master Muhammed Beshir el-Edlebi. In 1983, he was appointed in University of Aleppo as the calligrapher of Diwan in place of the famous calligrapher of Aleppo Ibrahim er-Rifai. He participated in the exhibitions organized in the University of Aleppo during the years 1985 1986 1988 and 2003. He participated in the exhibition realized in Damascus in 2004 2005 in the fields of Thuluth, Naskh and Ijazat. He participated in the field of Naskh in the competition held in Rakka in 2005 and he was awarded the 2 nd prize. He participated in the calligraphy competition organized by IRCICA in Istanbul in 2004.

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Tahsin KURT
(Van, 1965) Cel Talk 1.lik dl 1965te Vanda dodu. Lise mezunu olup, zel bir irkette matbaac olarak almaktadr. 1984te ilk mekini Hattat Hasan elebi Hocadan almaya balad. 1987 ylnda Hattat Prof. Dr. Ali Alparslan Hocadan talik dersi ald. 1991 ylnda nesh talik hattndan icazet almtr. 1994te de Hattat Hseyin Kutlu Hocadan sls dersi almaya balad ve 2001 ylnda Sls hattndan da icazet almaya hak kazand. eitli karma sergilere de katlan hattatn, zel koleksiyonlarda birok eseri bulunmaktadr. He was born in Van in 1965. He is a high school graduate and he is working as a printer at a private company. In 1984, he started taking his first lessons from the calligrapher Hasan elebi. In 1987 he took Taliq lessons from the calligrapher Prof. Dr. Ali Alparslan. In 1991, he received his diploma for the calligraphy of Naskh Taliq. In1994, he started taking Thuluth lessons from the calligrapher Hseyin Kutlu and in 2001, he received his diploma in Thuluth calligraphy. The calligrapher, who participated in various joint exhibitions, has many works in special collections.

Khaled EL SAE
(Suriye) Cel Divn 1.lik dl Sanatnn katld baz sergiler unlardr: 2001- Cervantes Institute tarafndan organize edilen Sanat ve Tasavvuf Sergisi, (2001-2004) am Milli Mzesi, Amman Kraliyet Mzesi, Halep Bilad AlSham Galerisi, Beyrut Unisco Palace, spanya Seville, Granada 2002 - Birleik Arap Emirlikleri, Sharjah Sanat Mzesi, 2003 - Boston, Wellesley College, Salter International House, 2003 - Boston Wellesley College, Salter International House, 2004 - Dubai Green Sanat Galerisi, Kiisel Sergi. 2005 - U of M Sanat Mzesi, Toplu Sergi, Ortadouda Yazl Sz Sanat. BAE Dubai, Majles Gallery, Hsn- Hatla Yazlm iirler, Kiisel Sergi. Sanatnn verdii konferanslar: Arapa Hsn- Hat ve Kimlik Kuveyt Plastik Sanat Cemiyeti. ABD U of M, Yakn Dou almalar Departman, Arapa Lisan ile Arapa Hsn- Hat Arasndaki liki, Vermont Middlebury College, Arapa Hsn- Hattn Tarihesi, ABD Michigan U of M, Yakn Dou almalar Departman, Arapa Hsn- Hattn Artistik fadesi, am Tasavvuf ve Hsn- Hat. Some of the exhibitions in which he participated are as follows: 2001 Art and Sufism exhibition organized by Cervantes Institute: (2001 2004) Damascus National Museum, Amman Royal Museum, Aleppo, Bilad al-Sham Gallery, Beirut, Unisco Palace, Spain, Seville, Granada 2002 United Arab Emirates, Sharjah Art Museum. 2003 Boston, Wellesley College, Salter International House, 2003 Boston, Wellesley College, Salter International House, 2004 Dubai, Green Art Gallery, Personal Exhibition. 2005 U of M Art Gallery, Joint Exhibition, Written Art of Words in the Middle East, UAE, Dubai, Majles Gallery, Poems Written by C a lligra phy, Pe rs ona l Exhibition. The conferences given by the artist: Arabic Calligraphy and Identity Kuwait Plastic Arts Association. USA, U of M, Near East Studies Department, The Relation between Arabic Language and Arabic Calligraphy, Vermont, Middlebury College, The History of Arabic Calligraphy, USA, Michigan, U of M, Near East Studies Department, The Artistic Expression of Arabic Calligraphy, Damascus, Sufism and Calligraphy.

Enver Abdusselam EL-HALAVN

(Halep/Suriye,1966) Cel Divn 2.lik dl 1966 Halep doumlu olan Halavani, dekor mhendislii mezunudur. Hat sanatn, Osmanlnn otorite hattatlarnn ve Irakl Hattat Haim elBadd Hocann koleksiyonlarndan rendi. Hibir hoca veya eitimciden ders almad. 2003 ylnda Medine-i Mnevvere mushafnn yazar Osman Taha hocadan sls ve nesh dalnda icazet ald. 1999 ve 2001de Riyadda dzenlenen 7. ve 8. Arap Hat Sanat Yarmasnda birincilik dl ald. 2002 ve 2003te Suudi Arabistann geneline ynelik olarak dzenlenen 9. ve 10. Arap Hat Sanat yarmasnda birincilik dl ald. 2004te Suriye geneline ynelik olarak dzenlenen yarmada divn hat sanat dalnda birincilik dl ald. Birok yerli, Arap ve Uluslararas sergi ve yarmaya katld. Riyadda baz Arap hattatlarn ortak olarak dzenledii sergiye katld. Halen dnyann en byk Kuran- Kerimi olan am Mushafnn yazmna itirak etmektedir. Halavani, who was born in Aleppo in 1966, is a graduate of decoration engineering. He learned the art of calligraphy from the collection of the competent calligraphers of Ottomans and Iraqi calligrapher Hashim el-Baghdadi. He did not receive any lessons from any master of teacher. In 2003, he received his diploma in the field of Thuluth and Naskh from the master Osman Taha, who is the inscriber of the Quran of Madina-i Munawwara. He was awarded the 1st prize in the 7 th and 8 th Arabic Calligraphy Competitions organized in Riyadh in 1999 and 2001. He was awarded the 1st prize in the 9th and 10th Arabic Calligraphy Competitions organized in 2002 and 2003 in Saudi Arabia. He was awarded the 1st prize in the field of Deewani that was organized in Syria in 2004 . He participated in many local, Arab and international exhibitions and competitions. He participated in the joint exhibition in Riyadh organized by some Arab Calligraphers. He also participated in the inscription of Damascus Quran, which is the biggest Quran of the world.

Mustafa PARILDAR
(Siverek/anlurfa, 1982) Cel Talk 3.lk dl Cel Divn Tevik dl 1982 ylnda anlurfann Siverek ilesinde dodu. mam-Hatip Lisesi mezunudur. Seluk niversitesi Gzel Sanatlar Fakltesi son snf rencisi olan sanat, hat sanatna 1994 ylnda Mehmet Memi Hocadan sls-nesh dersleri alarak balad. u anda Hseyin ksz Hoca Efendi ile talik ve divn almaktadr. He was born in Siverek county of anlurfa in 1982. He is a graduate of Imam-Hatib High School. The artist, who is a senior student at Seluk University, Fine Arts Faculty, started taking Thuluth - Naskh lessons from the master Mehmet Memi in 1994. Currently, he is studying Taliq and Deewani with the master Hseyin ksz.

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