albaraka türk hat yarışması`ndan seçme eserler selected art work

Transkript

ALBARAKA T†RK HAT YARIÞMASIÕNDAN SE‚ME ESERLER
SELECTED ART WORK FROM
ALBARAKA T†RK CALLIGRAPHY COMPETITION
Yayõn KoordinatšrŸ
Publishing Coordinator
TasarÝm
Graphics Design by
Ekrem Þahin
Dizgi-Grafik
Typesetting-Graphics Design by
Tekin Kavcak
BaskÝ-Cilt
Printing-Binding by
Temel HazÝroÛlu
ALBARAKA T†RK YAYINLARI: 30
K†LT†R YAYINLARI: 5
ALBARAKA T†RK PUBLICATIONS: 30
CULTURAL PUBLICATIONS: 5
3. BaskÝ
Üstanbul / Mayõs 2007
ISBN 975-005821-6
© TŸm yayÝn haklarÝ ALBARAKA T†RKÕe aittir.
TanÝtÝm amacÝyla yapÝlacak kÝsa alÝntÝlar dÝßÝnda yayÝncÝnÝn yazÝlÝ izni olmaksÝzÝn hi•bir yolla •oÛaltÝlamaz.
3nd Edition
Istanbul/ May 2007
ISBN 978-975-00582-3-3
© All rights reserved by ALBARAKA T†RK.
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.
GÜRÜÞ
INTRODUCTION
D u y g u v e d Ÿ ß Ÿ n c e l e r i n i y a z Ý i l e a n l a t m a k i n s a n a š z g Ÿ b i r e y l e m d i r.
ÜnsanlÝk tarihine baktÝÛÝmÝzda da en šnemli gelißmeler arasÝnda yazÝnÝn icadÝnÝ
gšrŸrŸz. Ama yazÝnÝn icadÝndan daha da šnemli olan, tek‰mŸl eden insanÝn
kendi eseri olan yazÝyÝ gelißtirmesi ve yazÝnÝn sanat boyutunu tŸm
zenginliÛi ile ortaya koymasÝdÝr.
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 manÕs originating his own style of writing in the course of his progression, whereby
revealing the dimension of beauty of writing in all his richness.
Bizim kŸltŸrŸmŸzde sanat Òmutlak sanatk‰rÓa ulaßma •abasÝdÝr. Her ßey,
gšrŸlenin deÛil, gšrŸlmek isteneni anlatma isteÛinin dÝßavurumudur aslÝnda.
‚aÛdaß dŸßŸnŸr Roger GaraudyÕnin veciz ßekilde dile getirdiÛi gibi: ÒSanat,
gšrŸnen ve bilinen gŸzellikleri kopya etmek deÛil, gšzle gšrŸlemeyen
Ômutlak gŸzelÕi arayÝß •abasÝdÝr.Ó
In our culture art is an endeavour to reach the ÔAbsolute ArtistÕ. 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, ÒArt is not copying those beauties
that are witnessed and known but an effort to search for the ÔAbsolute BeautyÕ,
Who cannot be seen through eyesÓ.
Hat sanatÝna gšnŸl verenlerin hat yazÝsÝnÝ bir iletißim aracÝ ve sŸsleme unsuru olmaktan
•ÝkarÝp, fevkalade šzgŸn bir sanat olarak gelißtirdiklerini ve hat sanatõnõn dŸnya sanat
tarihinde šnemli bir yer almasÝnÝ saÛladÝklarÝnÝ gšrmekteyiz. Medeniyetimizin
maddede mŸßahhaslaßan mimari dokusuna rengini ve sesini veren hatlarÝmÝz,
kendilerini duvarlara nakßeden ince zevki ve estetik anlayÝßÝnÝ yansÝtan kŸltŸr mirasÝdÝr.
KšklŸ medeniyetimizi bir aÛaca benzetirsek ana dallarÝnÝ olußturan OsmanlÝ sanatÝ
i•inde, mimariyi dÝßta bÝrakÝrsak, en šnemli sanat dalÝ HŸsn-i HatÕtÝr diyebiliriz.
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 worldÕs
history of art. Our calligraphs giving their colour and sound to our civilizationÕs 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.
Sizler de dereceye giren eserlerimizde gšreceksiniz ki, harflerin inci gibi satÝra
dizilißleri karßÝsÝnda hayrete dŸßmemek mŸmkŸn deÛildir. Harflerin canlÝlÝÛÝ
yanÝnda, istifteki yerleri ve durußlarÝ da mŸkemmel bir ahengi yansÝtÝyor.
Harflerin satÝra mŸkemmel dizilißi, kalem hareketlerinin kÝvraklÝÛÝ gšrenleri hayrete
dŸßŸrecek mŸkemmelliktedir. Dik harflerin canlÝlÝk, yatay harflerin ise devamlÝlÝk
hissi veren šzelliÛi herkesi etkileyebilecek seviyededir.
You also will witness in our prize-winning works that one cannot help being amazed
against the lettersÕ 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 lettersÕ vividness and the slant onesÕ quality
that gives an impression of continuity really inspire beholders.
Albaraka TŸrk olarak, hat sanatÝna olan ilgimiz kšklŸ medeniyetimizin šnemli bir
mirasÝna sahip •Ýkma bilinci yanÝnda ekonomik ama•lÝ kurulußlarÝn sosyal sorumluluklara
sahip olmasÝ gerektiÛine olan inancÝmÝzdan da kaynaklanmaktadÝr. KurumlarÝn,
yalnÝzca asli alanlarÝnda yaptÝklarÝ baßarÝlÝ •alÝßmalarla geleceÛe taßÝnabilmesi mŸmkŸn
gšzŸkmemektedir. Faizsiz bankacÝlÝk konusunda TŸrkiyeÕde akla ilk gelen kurum
olmak tabii ki šnemlidir ama tek baßÝna yeterli deÛildir.
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.
Albaraka TŸrk olarak kurumumuz, medeniyet havzamÝzÝn kŸltŸr birikiminin dirilmesi,
deÛerlendirilmesi, hareket ve •eßitlilik kazanmasÝ ve nihayet gelißtirilmesi i•in elinden
gelen •alÝßmalarÝ bugŸne kadar sŸrdŸrmŸß ve sŸrdŸrmeye de devam etmektedir. Bu
•er•evede ge•miß yõllarda bankamõzõn tertip ettiÛi hat yarÝßmasÝnÝ,
Albaraka TŸrkÕŸn bugŸne dek hat sanatÝmÝza saÛladÝÛÝ desteklerin ta•landÝrÝlmasÝ
olarak nitelemek yerinde olacaktÝr.
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.
Bu •alõßmalarõmõzõ Albaraka TŸrkÕŸn geleneksel sanatlarÝmÝza katkÝsÝnÝn ta•landÝrÝlmasÝ
olarak telakki eder; sšz konusu sanatlarÝmÝzÝ ihya ve yaßatmak i•in gayret gšsteren
herkesin bu yšnde bir ivme, bir yÝldÝz olmasÝnÝ dilerim.
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.
SaygÝlarÝmla,
Best regards,
Dr. Adnan BŸyŸkdeniz
Genel MŸdŸr
Dr. Adnan B†Y†KDENÜZ
General Manager
3
…NS…Z
FOREWORD
ÒKurÕ‰n-Ý Kerim HicazÕda nazil oldu, MÝsÝrÕda okundu, ÜstanbulÕda yazÝldÝÓ.
ÒThe Holy QurÕan was revealed in the Hejaz, recited in Egypt and written in IstanbulÓ.
Sanat; il‰h” sÝrlarÝ ve ÔMutlak GŸzelÕi arayÝßtÝr. Hat sanatÝ; mimari, musiki ve
edebiyat gibi medeniyetimizi olußturan temel taßlardan biridir. Mimari ve hat aynÝ
dili konußan iki ayrÝ sanat dalÝdÝr. Ancak, hat sanatÝ mimari ile aynÝ dili konußan
sanat olmasÝna karßÝn, hat sanatÝ temaßa edilecek bir mimari olarak bizim
Medeniyetimize mŸnhasÝr has bir sanattÝr. Medeniyetimizin yazÝlÝ bir medeniyet
olarak adlandÝrÝlmasÝnÝn sebebi de hat sanatÝdÝr. ‚ŸnkŸ medeniyetimize ait her eser
en gŸzel hat yazÝlarÝ ile sŸslenmißtir.
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.
Kad”mÕe gšre hat sanatÝ; ÒCismani aletlerle meydana getirilen ruhani bir
hendesedirÓ. Bunun i•indir ki, hat sanatÝ, nokta hesabÝyla olußan harf
boylarÝ, kavisleri, meyilleri, satÝr aralarÝ, istifleri ve kamÝßÝn k‰ÛÝt Ÿzerindeki
mŸkemmel kÝvraklÝÛÝnÝn ortaya koyduÛu bŸyŸlŸ hendesesiyle herkesi
kendisine hayran bÝrakmaktadÝr.
According to Kadim, the Art of Calligraphy is Òa spiritual geometry realized with
material toolsÓ. 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.
Albaraka TŸrk olarak ekonomik bir kuruluß olduÛumuz ger•eÛini unutmadan, ger•ek
varolußun ve geleceÛe taßÝnÝßÝn kŸltŸr ve sanat alanÝnda bir iz, bir nißane bÝrakmaktan
ge•tiÛinin bilincindeyiz. Bu •er•evede, kurulußumuzun 20. yÝlÝ mŸnasebetiyle sosyal
sorumluluklarÝmÝzÝn bir gereÛi olarak, hat sanatÝnÝn yaßatÝlmasÝ, gelißtirilmesi, hat
zevkinin tesisi ve šzendirilmesi i•in; hat sanatÝna gšnŸl verenleri bir nebze olsun
teßvik ederek bu sanata yeni eserler kazandÝrmak ve bunlarÝ yeni kußaklara ulaßtÝrmak,
bu gŸzide sanatÝmÝza hak ettiÛi alakayÝ saÛlamak amacÝyla 2005 senesinde bir hat
yarÝßmasÝ tertip etmißtik.
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.
YarÝßmanõn, aslÝnda ulusal šl•ekte planlanmÝß olmasÝna raÛmen, organizasyona
yurtdÝßÝndan da ilgi muazzam oldu. Cel” SŸlŸs, SŸlŸs, SŸlŸs-Nes”h, Cel” TaÕl”k ve Cel”
Div‰n” olmak Ÿzere 5 dalda dŸzenlenen mŸsabakaya TŸrkiyeÕden 110, yurtdÝßÝndan ise
8 Ÿlkeden 44 eser olmak Ÿzere toplam 154 eser katÝlmÝßtÝ. Bu eserlerden Albaraka TŸrk
…zel …dŸlŸ de dahil 17 eser JŸri †yeleri tarafÝndan dereceye layÝk gšrŸlmŸß ve 23 eser
de Teßvik …dŸlŸ almaya hak kazanmõßtõ.
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.
Bu vesileyle deÛerli Ÿstad hattatlardan olußan jŸri Ÿyelerine, yarÝßmaya katÝlan tŸm
hattatlara ve šdŸl kazananlara tebrik ve ßŸkranlarÝmÝzÝ sunarÝz.
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.
Þimdi sizlere Albaraka TŸrk Hat YarÝßmasÝÕnda šdŸl almÝß bu eserlerin bir kÝsmÝnÝ
tezhiple sŸslenmiß olarak sunuyoruz.
Now we would like to offer our several calligraphies with tezhip ornamented which won
prizes in Albaraka TŸrk Calligraphy Competition.
Daha mutlu ve daha gŸzel yarÝnlarda bulußmak dileÛiyle...
Looking forward to meeting on happier and better days in futureÉ
SaygÝlarÝmÝzla,
Best regards,
Temel HazÝroÛlu
YayÝn KoordinatšrŸ
Temel HazÝroÛlu
Publishing Coordinator
5
HAT SANATINA DAÜR
ABOUT CALLIGRAPHY
Hat sanatÝ, kamÝß kalem ve is mŸrekkebinin ißbirliÛi ile insan elinin vŸcude getirdiÛi
bir •izgiler saltanatÝdÝr. Basit •izgilerin bšylesine ßiirleßmesi, doÛrusu olur ßey deÛildir
ve ÜslamÕÝn devam edegelen bir mucizesidir. DŸnyada bu kadar •eßitli yazÝ varken ve
hepsi de kendine gšre gŸzel yazÝlabiliyorken, nasÝl olmuß da sadece Üslam yazÝsÝ
ger•ekten benzeri bulunmayan bir sanat haline gelivermiß? Onun sahip olduÛu bu
bŸyŸleyici estetik nereden doÛuyor? BunlarÝn cevabÝnÝ Hz.AliÕnin hikmet dolu ßu
sšzŸnde bulabiliriz: ÒYazÝ, ŸstadÝn šÛretißinde gizlidir, •ok yazmakla kÝvam bulur;
Üslam dini Ÿzere olmakla devam ederÓ. HattÝn, asÝrlar boyunca sanat ‰lemine hŸkmedißinde,
ißte bu manevi kudretinin rolŸ •ok bŸyŸktŸr. AyrÝca, harflerin baßlÝ baßÝna kÝvraklÝÛÝ
ve birbirlerine bitißmekle kazandÝklarÝ ßekil zenginliÛi, hele aynÝ ibarenin muhtelif
istiflerle yazÝlabilmesi, Üslam yazÝsÝna sanatÝn ilk ßartÝ olan sonsuzluk ve yenilik kapÝsÝnÝ
daima a•Ýk bÝrakmÝßtÝr. Bir harf, yalnÝz olarak, icap ederse birka• tŸrlŸ yazÝlabildiÛi
gibi; kelimenin baßÝnda, ortasÝnda ve sonunda bulunußuna gšre bŸnye deÛißikliÛine
uÛramakla pek •ok ßekil zenginliÛi kazanÝr. Bir hayli hat •eßidi olduÛu da gšz šnŸne
alÝnÝrsa, bu sšzlerimizin manasÝ daha iyi anlaßÝlÝr.
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 AliÕs following
sagacious statement: ÒWriting is secret in the MasterÕs instruction; it becomes perfect
through much practice and lasts in obedience to the Religion of IslamÓ. 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 Ð 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.
Bu mucizevi yazÝya hak ettiÛi emeÛi vermek OsmanlÝ TŸrklerine nasip olmußtur. O
kadar ki, ÒArab yazÝsÝÓ gibi dar mana taßÝyan bir tarif yerine ÒÜslam yazÝsÝÓ demeyi
tercih etmeseydik ve mutlaka bir millete m‰l etmek gayretinde olsaydÝk, buna ÒTŸrk
yazÝsÝÓ dememiz, ger•eÛi ifade ederdi. Zira, bir daÛ kadar yŸksek ve geniß olan bu
yazÝ sistemini hangi etek noktasÝndan alÝp ßahikasÝna •ÝkardÝÛÝmÝzÝ, insafla bakan
herkes kabul ve tasdik eder. Bir baßka deyißle, hat, eÛer OsmanlÝ TŸrkŸÕnŸn eline
ge•meseydi hŸsn-i hat (gŸzel yazÝ) olmak yolunun baßlangÝcÝnda boynu bŸkŸk kalÝrdÝ.
‚ŸnkŸ Üslami TŸrklŸÛŸmŸz, tarih boyunca, o yazÝ gŸzelini cananÝ gibi sevmiß, elinden
bÝrakmamÝßtÝr.
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 ÔIslamic WritingÕ instead of ÔArabic
WritingÕ, 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 ÔTurkish WritingÕ.
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 ÔHusn al-HattÕ (Elegant Writing) because
our Islamic Turkism has ever loved this graceful writing like his beloved one throughout
history and has never given it up.
Belli kalÝptaki bŸyŸk ve kŸ•Ÿk harflerden meydana gelen Latin alfabesinde, Üslam
yazÝsÝndaki estetik kabiliyetin biraz olsun bulunabileceÛini dŸßŸnmek bile yersizdir.
AynÝ ßekilde •ok zengin, fakat birleßmeyen gruplardan meydana gelen Uzak DoÛu
(‚in, JaponÉ) alfabe sistemleri de hoßa giden gšrŸntŸlerine raÛmen, Üsl‰m yazÝsÝ
karßÝsÝnda •ok yavan kalÝr. Nihayet, MŸslŸman ‰leminin minyatŸr dÝßÝnda tasvire karßÝ
ilgi duymayÝßÝ, resim zevkinin de yazÝ sanatÝnda tecellisine vesile olmußtur. Hem
okunup ibret alÝnmak, hem de mŸcerret (abstre) bir resim tablosu gibi duvara asÝlÝp
seyredilmekÉ Üßte bu, sadece Üslam yazÝsÝna hastÝr.
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, É), 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 tableauÉ This is
uniquely peculiar to the Islamic Writing.
ÒGŸzel yazÝ, okunabilendirÓ mealinde Arap•a bir sšz vardÝr. Ger•ekten Üslamiyetin
ilk asÝrlarÝnda gŸzel yazÝ mefhumu bu manaya alÝnÝyordu. YalnÝz okuma yazma
vasÝtasÝ olarak kullanÝlan hat, Emevi ve Abbasi devirlerinin bir•ok hattatÝndan sonra,
bilhassa Übn Mukle (š.940) ve ÜbnŸÕl-Bevv‰b (š.1022) eliyle sanat h‰line gelince,
Üslamiyetin yayÝldÝÛÝ yerlerde de bunun tesirleri gšrŸldŸ. Nihayet Y‰kutŸÕl-MustaÕsÝm”
(š.1298), Abbasi saltanatÝ esnasÝnda BaÛdatÕta topluca akl‰m-Ý sitte (altÝ yazÝ) adÝ
verilen ve daha šnceden ßekillenmiß olan sŸlŸs, nesih, muhakkak, reyhan”, tevk”Õ,
rÝkaÕ nevilerini bŸtŸn kaideleriyle tamamlayÝp yazmayÝ baßardÝ.
There is an Arabic saying meaning, ÒElegant writing is the one that can be readÓ. 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 alMustaÕsimi (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.
Y‰kutÕun yetißtirdiÛi ve aralarÝnda TŸrklerin de bulunduÛu hat ŸstadlarÝ, onun
Ÿslubunu bŸtŸn Üslam Ÿlkelerine yaydÝlar.
The masters of calligraphy raised by Yaqut, among whom were some Turks,
spread his style all over the Islamic countries.
Aradan iki asra yakÝn bir zaman ge•ti. OsmanlÝ TŸrkleri, AnadoluÕnun bŸyŸk
bir kÝsmÝndan sonra ÜstanbulÕu fethederek, devleti yalnÝz askeri ve siyasi
bakÝmdan deÛil, kŸltŸr ve sanat cihetinden de yŸceliÛe erißtirmißlerdi.
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.
7
AmasyalÝ hattatlardan Þeyh Hamdullah (1429-1520), šnceleri Y‰kut Ÿslubunu en
gŸzel ve mŸkemmel bi•imiyle yŸrŸtŸyorken, hamisi ve talebesi Sultan II. B‰yezidÕin
teßvik ve tavsiyesi Ÿzerine, Y‰kutÕun eserlerini bir estetik kÝymetlendirmeye tabi tuttu
ve kendi sanat zevkini de katarak, bunlardan yeni bir tarz •ÝkarmayÝ baßardÝ. Tahminen
1485 yÝlÝnda doÛan bu ÒÞeyh Hamdullah ŸslubuÓ ile OsmanlÝ-TŸrk yazÝ sanatÝnda
Y‰kut devri kapanÝyordu. Nitekim, Kanžni Sultan SŸleyman •aÛÝnda bu tavrÝ en parlak
bi•imiyle yeniden canlandÝran Ahmed Karahis‰r”Õnin (š.1556) yazÝ anlayÝßÝ, kendisinden
sonra unutulmuß; Þeyh Hamdullah yoluna karßÝ duramamÝßtÝr. Ancak Karahis‰r”
MektebiÕnin, cel” hattÝnda, zamanÝna gšre, Þeyh vadisinden daha baßarÝlÝ olduÛu
muhakkaktÝr.
While Sheik Hamdullah (1429-1520), of the Calligraphers of Amasya, was first performing
YaqutÕs 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 ÔStyle of Sheik HamdullahÕ, 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.
Þeyh Hamdullah devrinde, Y‰kut yolu ile intikal eden altÝ cins yazÝdan sŸlŸs ve nesih,
TŸrk zevkine •ok uygun geldiÛi i•in sŸratle yayÝlmÝß; eski devirden farklÝ olarak,
KurÕ‰n-Ý Ker”mÕin yazÝlmasÝnda bilhassa nesih hattÝ kullanÝlmaya baßlanmÝßtÝr. Buna
mukabil, muhakkak ve reyhan”nin mŸdevver (yuvarlak) harflerinin azlÝÛÝ ve geniß
olußu yŸzŸnden benimsenmediÛini, yavaß yavaß unutulduÛunu, ancak elin melekesini
artÝrmak i•in eski hat ŸstadlarÝna takliden yazÝlan murakkaalarda rastlandÝÛÝnÝ
sšyleyebiliriz. Bir istisna olarak, muhakkak hattÝyla Besmele yazÝlmasÝ ‰deti, zamanÝmÝza
kadar devam edegelmißtir. AltÝ yazÝnÝn diÛer ikisinden biri olan rÝkaÕ, daha cazip bir
Ÿslžba bŸrŸnerek hatt-Ý icaze adÝyla bilhassa icazetnamelerde yer almÝß, tevkiÕ ise
unutulmußtur.
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 MuraqqaÕahs 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.
Þeyh HamdullahÕtan sonra yetißenler, hep onun gibi yazmak gayretiyle hareket ettiler.
O kadar ki, namlÝ hattatlarÝn muvaffakiyeti ÒÞeyh gibi yazdÝÓ veya ÒÞeyh-i S‰n”Ó
(Ükinci Þeyh Hamdullah) sšzleriyle anÝlÝr olmußtu. Bu h‰l 150 yÝlÝ aßkÝn bir zaman
devam etti.
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
ÒHe wrote like SheikÓ or ÒHeÕs Sheik al-ThaniÓ (Sheik Hamdullah the Second), which
case continued for over 150 years.
Nih‰yet, XVII. asrÝn ikinci yarÝsÝnda ÜstanbulÕun sanat ufku yeniden bir hat nuruyla
aydÝnlandÝ. H‰fÝz Osman (1642-1698) adÝndaki bu hat dehasÝ, vaktiyle Þeyh HamdullahÕÝn
Y‰kutÕtan yer yer se•ip topladÝÛÝ yazÝ gŸzelliÛini bir elemeye tabi tuttu ve eskisine gšre
daha da safiyet kazanan, kendine has bir ßiveyi ortaya koyarak, o vadide yazmaya
baßladÝ. ArtÝk Þeyh Ÿslžbu, yerini H‰fÝz OsmanÕÝnkine terk ediyordu. Hat sanatÝnda bu
ŸstadÝn a•tÝÛÝ •ÝÛÝr bŸtŸn haßmetiyle sŸrŸp giderken, ondan bir asÝr sonra gelen Üsmail
ZŸhd” (š.1806) ve kardeßi Mustafa R‰kÝm (1758-1826), H‰fÝz OsmanÕÝn en mŸkemmel
yazÝlarÝndan, ayrÝ zamanlarda ve kendi zevklerine gšre birer ßive •ÝkardÝlar, en gŸzel
harf ve tavÝrlarÝ elde etmesini bildiler.
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.
O devre kadar sŸlŸs hattÝ ile Ÿstadane eserler verildiÛi h‰lde, onun daha kalÝn ßekli
olan cel” yazÝsÝnda estetik šl•Ÿler bir tŸrlŸ saÛlanamÝyor ve ortaya kštŸ cel” šrnekleri
•ÝkÝyordu. H‰fÝz OsmanÕÝn bile yazdÝÛÝ cel” yazÝlar onun ßanÝna layÝk deÛildi ama, o
devirde bu kadar yazÝlabiliyordu. Ancak Mustafa R‰kÝm, sŸlŸs ve nesih yazÝlarÝnda
olduÛu gibi, cel” sŸlŸsde de gerek harf, gerekse istif mŸkemmeliyeti ile gelmiß ge•miß
bŸtŸn hat ŸsluplarÝnÝn zirvesine •ÝktÝ; H‰fÝz Osman anlayÝßÝnÝ sŸlŸsden cel”ye aktarmasÝnÝ
bildi. Mustafa R‰kÝm, padißah tuÛralarÝnÝ da Ýslah ederek, onlarÝ gŸzelliÛinin son
noktasÝna getirip bÝrakmÝßtÝr.
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
SalihÕs as well as in his calligraphs in Thuluth and Naskh; He managed to transfer Hafiz
UthmanÕs concept from Thuluth into Cali. What is more, Mustafa Raqim improved SultansÕ
imperial monograms to their ultimate elegance.
8
R‰kÝmÕdan sonra gelen ve o yolun takip•isi olan cel” ŸstadÝ S‰m” Efendi (1838-1912)
de, Üsm‰il ZŸhd”Õnin sŸlŸs harflerini cel”ye tatbik ederek R‰kÝm yoluna yeni bir ßive
vermiß, cel” sŸlŸs istifini doldurmakta kullanÝlan yardÝmcÝ ißaretleri, ayrÝca rakamlarÝ
en cazip bi•imde yazmayÝ baßarmÝßtÝr. Onun •aÛdaßÝ olan veya sonradan yetißen
‚arßambalÝ HacÝ årif Bey (š.1892), Nazif Bey (1846-1913), …mer Vasf” (1880-1928)
ve kardeßi Emin YazÝcÝ (1883-1945), Üsmail HakkÝ Altunbezer (1873-1946), Halim
…zyazÝcÝ (1898-1964), M‰cid Ayral (1891-1961) ve H‰mid Ayta• (1891-1982) gibi
Ÿstadlar, cel”de hep bu Ÿsluba sadÝk kalmÝßlar veya kalmaya •alÝßmÝßlardÝr.
Also, Sami Efendi (1838-1912), a master of Cali who came after Raqim and followed
his pathway, applied Ismail ZuhdiÕs Thuluth letters to Cali and added a new style to
RaqimÕs 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 ‚arßamba (d.
1982), Nazif Bey (1846-1913), Omar Vasfi (1880-1928) and his brother Emin Yazõ'cõ
(1883-1945), Ismail Hakkõ Altunbezer (1873-1946), Halim …zyazõcõ (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.
R‰kõmÕla aynõ devirde yaßayan Mahmžd Cel‰leddin (š.1829) de sŸlŸs ve nesih yazõlarõnda
H‰fõz OsmanÕdan kendi zevkine gšre bir ßive alõp bunu gelißtirmiß, metanetli bir yazõya
s‰hib olmußtur. Fakat bu Ÿslžb cel”ye dšnŸnce katõlaßõr, sert bir h‰l alõr. Onun i•in Mahmžd
Cel‰leddin, R‰kõmÕõn karßõsõnda cel” yazõsõyla hi• tutunamamõßtõr.
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.
BŸyŸk hattat ve musiki ŸstadÝ KadÝasker Mustafa Üzzet Efendi (1801-1876) ve onun
yetißtirdiÛi Þefik BeyÕle (1819-1880) Abdullah ZŸhd” Efendi (š.1879) ve Muhsinz‰de
Abdullah Bey (1832-1899), H‰fÝz Osman-Cel‰leddin-R‰kÝm karÝßÝmÝ bir Ÿslupta karar
kÝlmÝßlarsa da, onlarla •aÛdaß olan Þevk” Efendi (1829-1887), sŸlŸs-nesih yazÝlarÝnÝ
H‰fÝz Osman ve R‰kÝmÕdan aldÝÛÝ ilhamla, o devre kadar gšrŸlen en yŸce seviyeye
•ÝkarmÝß ve bu yazÝlarda son merhale olarak kalmÝßtÝr. Onun šÛrencilerinden Bakkal
årif (1836-1909) ve Fehmi (1860-1915) efendilerle, S‰mi EfendiÕnin talebesi K‰mil
Akdik (1861-1941), bu yolun gŸzide temsilcilerindendir. årif EfendiÕden hat meßk
eden Aziz Efendi (1871-1934) de, davet olunduÛu MÝsÝrÕda, Þevk” Efendi tavrÝnÝ
yaymÝßtÝr. KadÝasker MektebiÕne mensup olan Hasan RÝz‰ Efendi (1849-1920) de,
nesih hattÝ ile KurÕ‰n-Ý Ker”m yazmada unutulmaz son isimdir.
Although Kadõasker Mustafa Izzet Effendi (1871-1876), a great master of calligraphy
and music, and Þefik 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, Þevki 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 Rõza
Efendi (1849-1920), who worked at the School for Kadõasker, is the last unforgettable
name to write the Holy Koran in Naskh Style.
BŸtŸn resm” ißlerde yeri olan d”v‰n” ve cel” d”v‰n” yazÝlarÝnÝn en mŸkemmel sev”yeye
XIX. asÝr sonlarÝnda ulaßtÝÛÝnÝ kaydedip biraz da taÕl”k hattÝndan sšz edelim: XV. asrÝn
ikinci yarÝsÝndan beri kullandÝÛÝmÝz, ÜranÕda nestaÕl”k adÝyla anÝlan ve OsmanlÝlarÕda
sadece taÕl”k denilen bu yazÝ nevinin bizde hakkÝyla ele alÝnÝßÝ, ÜranÕÝn m‰ruf nestaÕl”k
ŸstadÝ Üm‰dŸÕl-Hasen”Õden (š.1615) sonra oldu.
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 ImadÕul Haseni (d.
1615), a Persian Master in the Style of NasTaliq.
TŸrk hattatlarÝ bu Ÿslubu šylesine benimsediler ki, ŸstŸn baßarÝ gšsterenlere Üm‰d-Ý
Ržm (AnadoluÕnun Üm‰dÝ) denilmesi ‰det hŸkmŸne girdi. Nihayet vŸcudunun saÛ
yanÝ fel•li doÛduÛu i•in sol eliyle yazdÝÛÝndan Yes‰r” lakabÝyla anÝlan hat deh‰mÝz
Mehmed EsÕad Efendi (š.1798), Üm‰dÕÝn en gŸzel harflerinden se•ip onu ßive olarak
aldÝ ve bšylece bir TŸrk TaÕl”k Mektebi doÛdu. Onun oÛlu Yes‰r”z‰de Mustafa Üzzet
efendi (1770-1849) de bu ßiveyi bŸtŸn teferruatÝyla kaidelerine oturtarak ÜranÕda da
yazÝlamayan bir TŸrk cel” taÕl”k Ÿslubunu ortaya koydu. Cel” sŸlŸste olduÛu kadar
taÕl”k ve cel” taÕl”k yazÝlarÝnda da Ÿstad olan S‰m” Efendi bu TŸrk Ÿslubunu en
mŸtek‰mil bi•imi ile talebesinden Nazif Bey (1846-1913), Hulus” Yazgan (1869-1940),
…mer Vasf” (1880-1928) ve Necmeddin OkyayÕa (1883-1976) aksettirdi.
Turkish calligraphs embraced this style to so enthusiastically that it became a custom
to call those who performed supreme achievement therein ÔImad al-RumÕ (the Imad
of Anatolia). Lastly, our Genius of Calligraphy Mehmed EsÕad 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).
GšrŸlŸyor ki, yazõ sanatõmõzda devamlõ bir sŸzŸlŸp arõnma ve Ÿsluplaßma hareketi
vardõr ve bunlar, yazõnõn esasõnõ bozmadan yapõlmõßtõr. Mimari, musiki, resim ve
tezy”n” sanatlarõmõzõn, Batõ tesiri ile bozulup gerilemesine mukabil, hat sanÕatõnõn
daima mŸkemmele gidißinin, kanaatimizce Ÿ• sebebi vardõr:
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 ArtÕs ever getting perfect are as follows:
9
1- BŸnyesine tesir edebilecek, benzeri bir sanatõn AvrupaÕda bulunmayõßõ,
1) There has actually been no similar art in Europe that will affect its structure;
2- †slup sahibi hattatlar elinde usta-•Ýrak esasÝna gšre saÛlam kaidelerle nesilden
nesile intikali,
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- Zamanla, kendi bŸnyesi i•inde yenilenme kabiliyetine sahip olußu.
3) It is vested with the capacity to be renovated within itself in the course of time.
Üsl‰m ‰leminde pek yaygÝn bir sšz vardÝr: ÒKurÕ‰n-Ý Ker”m HicazÕda nazil oldu,
MÝsÝrÕda okundu, ÜstanbulÕda yazÝldÝÓ. Ger•ekten, KurÕ‰n mucizesi bir sanat ßaheseri
olarak k‰ÛÝt Ÿzerine ÜstanbulÕda aksetmißtir. Üslam PeygamberiÕnin sšz incileri olan
hadisler de, yine bu beldede inci misali yazÝlagelmißtir. YalnÝz onlar mÝ; divanÝndan
fermanÝna, mermer ŸstŸne hakkedilmiß •eßme kitabesinden mezar taßÝna kadar her
biri, isimlerini burada ayrÝ ayrÝ yad etmeye imkan bulamadÝÛÝmÝz hat sanatk‰rlarÝ
tarafÝndan, tarihe ÒbeldetŸn-tayyibetŸnÓ (bir gŸzel ßehir) olarak ge•en ÜstanbulÕun bu
ismine layÝk bir bi•imde, gŸzelliÛi gšrebilenlerin nazarlarÝna sunulmußtur.
There is a very common saying in the Islamic World: ÒThe Holy QurÕan was revealed
in the Hejaz, recited in Egypt and written in IstanbulÓ. In fact, the miracle of QurÕan 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 ÔBaldatun-TayyibatunÕ
(A Beautiful City) to the observation of those beholders that are able to see them.
†lkemizde, tabiatÝyla eski ßaßaasÝ kalmayan hat sanatÝ, son yÝllarda yetißen gen•
hattatlarÝn gayreti ve taze meraklÝlarÝn ilgisi ile yeniden gelißme yoluna girmiß,
tarihe karÝßan bir sanat olmaktan •ÝkmÝßtÝr. Albaraka TŸrkÕŸn tertiplediÛi hat
mŸsabakasÝnda kazanÝp dereceye giren gen•ler de bu sšzlerimizin doÛruluÛuna
delil olußturmaktadÝr.
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 TŸrk confirm the truth of our words.
Prof. M. UÛur Derman,
President of the Jury of Albaraka Turk Calligraphy Contest
Prof. M. UÛur Derman
Albaraka TŸrk Hat YarÝßmasÝ JŸri BaßkanÝ
10
19
26
Ferhat KURLU
(Ordu, 1976)
23
Jawad Khouran
(Üran, 1977)
24
Cel” SŸlŸs
1.Õlik …dŸlŸ
…zel …dŸl
Cel” SŸlŸs
2.Õlik …dŸlŸ
…mer Faruk …ZOÚUL
(Erzurum, 1968)
28
Cel” SŸlŸs
3.ÕlŸk …dŸlŸ
27
Muhammed D. CELLóL
(Halep/Suriye, 1957)
Wissam SHAWKAT MATTI
(Basra/Irak, 1974)
25
Beatrice Hilal ‚ÜZMECÜOÚLU
(Fransa, 1968)
Cel” SŸlŸs
Teßvik …dŸlŸ
Ahmet FARIS RIZIG
(MÝsÝr, 1980)
29
33
SŸlŸs
1.Õlik …dŸlŸ
34
Jawad Khouran
(Üran, 1977)
SŸlŸs
2.Õlik …dŸlŸ
Ali RÝza …ZCAN
(Zonguldak, 1968)
Cel” SŸlŸs
Teßvik …dŸlŸ
Cel” SŸlŸs
Teßvik …dŸlŸ
Ferhat KURLU
(Ordu, 1976)
Cel” SŸlŸs
3.ÕlŸk …dŸlŸ
Bijar El-Hac Kerim EL-ERBILLI
(Irak, 1963)
35
SŸlŸs
Teßvik …dŸlŸ
Ziyad Haydar AL-MUHANDIS
(Irak, 1967)
36
SŸlŸs
Teßvik …dŸlŸ
37
Nuh El-HAMD
(Suriye, 1968)
SŸlŸs
Teßvik …dŸlŸ
38
Haysem EL-HAMADE
(Suriye, 1970)
SŸlŸs
Teßvik …dŸlŸ
46
Emine SAÚMAN
(Üstanbul, 1968)
SŸlŸs-Nes”h
Teßvik …dŸlŸ
52
Abdurrahman Ahmed EL-ABDë
43
SŸlŸs-Nes”h
Teßvik …dŸlŸ
Ali RÝza …ZCAN
(Zonguldak, 1968)
Cel” TaÕl”k
Teßvik …dŸlŸ
55
SŸlŸs-Nes”h
2.Õlik …dŸlŸ
SŸlŸs-Nes”h
1.Õlik …dŸlŸ
(Irak, 1963)
47
44
Khaled EL-SAEÜ
(Suriye)
Cel” Div‰n”
1.Õlik …dŸlŸ
BetŸl KIRKAN
(Üstanbul, 1971)
Mahmud Elb‰n B. MUHYÜDD”N
48
56
(Irak, 1967)
45
51
SŸlŸs-Nes”h
Teßvik …dŸlŸ
Enver Abdusselam
AL HALAVåNë
Cel” Div‰n”
2.Õlik …dŸlŸ
SŸlŸs-Nes”h
3.ÕlŸk …dŸlŸ
Tahsin KURT
(Van, 1965)
Cel” TaÕl”k
1.Õlik …dŸlŸ
57
Mustafa PARILDAR
(ÞanlÝurfa, 1982)
Cel” Div‰n”
Teßvik …dŸlŸ
J†RÜ †YELERÜ
MEMBERS OF THE JURY
1. Prof M. UÛur DERMAN
2. HŸseyin KUTLU
3. Hasan ‚ELEBÜ
4. Fuad BAÞAR
ALBARAKA T†RK …ZEL …D†L†
SPECIAL PRIZE OF ALBARAKA T†RK
KurÕ‰n-Ý Ker”m:
Kasas Suresi 77. Ayet
n¶rÇndGE oöG n¿n¡•rMnG %ƒn»nc r¿p¡•rMnG nh
TŸrk•e Meali:
ÒAllah sana nasÝl iyilik ettiyse
sen de šyle iyilik et.Ó
Hattat:
Jawad Khouran
(Üran, 1977)
Tezhip:
NilŸfer Kurfeyz
Selim SaÛlam
Albaraka TŸrk
2005 Hat Yarõßmasõ
…zel …dŸl
19
CELë S†L†S
CALI THULUTH
Bakara Suresi 276. Ayet
pŠƒnbn—s¡ŸdG ÅpHr™ojnh GÄnHu™dG oöG o³n‘r»nj
m¼Ç*KnG mQƒs¯nc s¹oc t…p‘oj nÕ oöG nh
TŸrk•e Meali:
ÒAllah, faizi eksiltir, sadakalarÝ
ise bereketlendirir. Allah kŸfŸrde
ve gŸnahta Ýsrar eden
hi• kimseyi sevmez.Ó
Hattat:
Ferhat KURLU
(Ordu, 1976)
Tezhip:
NilŸfer Kurfeyz
Selim SaÛlam
Albaraka TŸrk
Cel” SŸlŸs
1.Õlik …dŸlŸ
23
Hadis-i Þer”f:
Buhari
p—r„n©drG pÀrÄnY Åpa oönG
.pÂÇpNGn pÀrÄnY Åpa o—r„n©drG n½GnOƒne
TŸrk•e Meali:
ÒKul kardeßine yardÝm
ettiÛi sŸrece Allah da
onun yardÝmcÝsÝdÝr.Ó
Hattat:
Muhammed D. CELLóL
Tezhip:
Hande Berra
Albaraka TŸrk
Cel” SŸlŸs
2.Õlik …dŸlŸ
24
Hadis-i Þer”f:
Buhari
.pÂÇpNnG pÀrÄnY Åpa o—r„n©drG n½GnOƒne
TŸrk•e Meali:
Hattat:
(Basra/Irak, 1974)
Tezhip:
GŸlnur Duran
Albaraka TŸrk
Cel” SŸlŸs
3.ÕlŸk …dŸlŸ
25
Hadis-i Þer”f:
Buhari
TŸrk•e Meali:
Hattat:
(Erzurum, 1968)
Tezhip:
GŸlnihal KŸpeli
Albaraka TŸrk
Cel” SŸlŸs
3.ÕlŸk …dŸlŸ
26
Hadis-i Þer”f:
Buhari
p—r„n©drG pÀrÄnY Åpa oöGn
.pÂÇpNGn pÀrÄnY Åpa o—r„n©drG n½GnOƒne
TŸrk•e Meali:
Hattat:
Ahmet FARIS RIZIG
(MÝsÝr, 1980)
Tezhip:
Ayten Tiryaki
Albaraka TŸrk
Cel” SŸlŸs
Teßvik …dŸlŸ
27
Furkan Suresi 67. Ayet
GÄoap™r¡•oj r¼nd GÄo²n¯rfnCG Gn%PpG n¿j*˜sdG nh
.ƒkeGnÄnb n¶pdP$ n¿rÇnH nÀƒnc nh Gho™oˆr²nj r¼nd nh
TŸrk•e Meali:
ÒOnlar ki, harcadÝklarÝ zaman ne
israf ederler, ne de cimrilik
ederler. Bunun ikisi arasÝnda
orta bir yol tutarlar.Ó
Hattat:
(Fransa, 1968)
Tezhip:
Cemile Baybura
Albaraka TŸrk
Cel” SŸlŸs
Teßvik …dŸlŸ
28
Hadis-i Þer”f:
Buhari
TŸrk•e Meali:
Hattat:
Ali RÝza …ZCAN
(Zonguldak, 1968)
Tezhip:
Þehnaz …zcan
Albaraka TŸrk
Cel” SŸlŸs
Teßvik …dŸlŸ
29
S†L†S
THULUTH
TŸrk•e Meali:
ÒFaiz yiyenler (kabirlerinden)
ancak ßeytanÝn dokunup •arptÝÛÝ
kimsenin kalktÝÛÝ gibi kalkarlar.
Bu onlarÝn ÒAlÝßveriß de faiz
gibidirÓ demeleri yŸzŸndendir.
Halbuki Allah, alÝßverißi helal,
faizi haram kÝlmÝßtÝr. Bundan
bšyle, kime RabbÕinden bir šÛŸt
gelir de yaptÝÛÝndan vazge•erse,
ge•mißte olan kendisinindir ve
ißi de AllahÕa kalmÝßtÝr. Kim de
yeniden (faizciliÛe) dšnerse, ißte
onlar cehennemliktir, onlar orada
sŸrekli olarak kalacaklardÝr.Ó
Hattat:
Ferhat KURLU
(Ordu, 1976)
Tezhip:
Zehra Durmuß
Albaraka TŸrk
SŸlŸs
1.Õlik …dŸlŸ
33
Kasas Suresi 76-77. Ayetler
TŸrk•e Meali:
ÒKarun, MusaÕnÝn kavminden idi
de, onlara karßÝ azgÝnlÝk etmißti.
Biz ona šyle hazineler vermißtik
ki, anahtarlarÝnÝ gŸ•lŸ-kuvvetli
bir topluluk zor taßÝrdÝ. Kavmi
ona ßšyle demißti: ÞÝmarma! Bil
ki Allah ßÝmarÝklarÝ sevmez.
AllahÕÝn sana verdiÛinden (Onun
yolunda harcayarak) ahiret
yurdunu iste; ama dŸnyadan da
nasibini unutma. Allah sana nasÝl
iyilik ettiyse sen de šyle iyilik
et. YeryŸzŸnde bozgunculuÛu
arzulama. ÞŸphesiz ki Allah,
bozguncularÝ sevmez.Ó
Hattat:
Jawad Khouran
(Üran, 1977)
Tezhip:
Ayten Tiryaki
Albaraka TŸrk
SŸlŸs
2.Õlik …dŸlŸ
34
Maide Suresi 12. Ayet
TŸrk•e Meali:
ÒAllah demißti ki; ÒßŸphesiz, ben
sizinle birlikteyim. EÛer namazÝ kÝlar,
zekatÝ verirseniz, peygamberlerime
iman edip onlara yardÝm eder ve
Allah i•in gŸzel bir šdŸn• verirseniz
elbette sizin gŸnahlarÝnÝzÝ šrterim ve
sizi altlarÝndan Ýrmaklar akan
cennetlere sokarÝm. Bundan sonra
i•inizden kim ink‰r ederse, ßŸphesiz
dŸz bir yolun ortasÝndan sapmÝß
olur.Ó ÒSadakalarÝ a•Ýktan verirseniz
ne gŸzel! EÛer onlarÝ yoksullara
gizlice verirseniz sizin i•in daha
iyidir ve sizin gŸnahlarÝnÝzÝn bir
kÝsmÝnÝ šrter. Allah yaptÝklarÝnÝzdan
haberdardÝr.Ó
Hattat:
(Irak, 1963)
Tezhip:
Hande Berra
Albaraka TŸrk
SŸlŸs
Teßvik …dŸlŸ
35
TŸrk•e Meali:
ÒEy iman edenler!
KazandÝklarÝnÝzÝn ve rÝzõk olarak size
yerden •ÝkardÝklarÝmÝzÝn iyisinden,
temizinden fakirlere verin. Size
verilse gšzŸnŸzŸ yummadan
alamayacaÛÝnÝz kštŸ malÝ hayÝr diye
vermeye kalkÝßmayÝn. Biliniz ki
Allah zengindir, švgŸye layÝktÝr.Ó
Hattat:
(Irak, 1967)
Tezhip:
Zehra Durmuß
Albaraka TŸrk
SŸlŸs
Teßvik …dŸlŸ
36
TŸrk•e Meali:
ÒMallarÝnÝ Allah yolunda
harcayanlarÝn šrneÛi, her baßakta yŸz
tane olmak Ÿzere yedi baßak bitiren
tek bir tane gibidir. Allah dilediÛine
kat kat fazlasÝnÝ verir. Allah cšmerttir
ve her ßeyi bilendir.Ó
Hattat:
Nuh El-HAMD
(Suriye, 1968)
Tezhip:
Hande Berra
Albaraka TŸrk
SŸlŸs
Teßvik …dŸlŸ
37
TŸrk•e Meali:
ÒMallarÝnÝ Allah yolunda
harcayanlarÝn šrneÛi, her baßakta yŸz
tane olmak Ÿzere yedi baßak bitiren
tek bir tane gibidir. Allah dilediÛine
kat kat fazlasÝnÝ verir. Allah cšmerttir
ve her ßeyi bilendir.Ó
Hattat:
Haysem EL-HAMADE
(Suriye, 1970)
Tezhip:
Ayßenur Kadak•Ýveli
Albaraka TŸrk
SŸlŸs
Teßvik …dŸlŸ
38
S†L†S-NESëH
THULUTH-NASKH
Hadis-i Þer”f:
Tirmizi, ZŸhd 20, ZŸhd 26, ZŸhd 35
Bakara Suresi 275. Ayet,
Mearic Suresi 24-25. Ayetler
TŸrk•e Meali:
Ò‚iftlik ve akar edinerek dŸnyaya raÛbet
etmeyiniz.Ó (Tirmizi, ZŸhd 20)
ÒÞŸphesiz her Ÿmmetin bir fitnesi vardÝr.
†mmetimin fitnesi (imtihan sebebi) de
maldÝr.Ó (Tirmizi, ZŸhd 26) ÒÜslamÕÝn
dosdoÛru yoluna ulaßtÝran ve ge•imi
yeterli olup da buna kanaat eden kimse,
ne kadar mutludur...Ó (Tirmizi, ZŸhd 35)
ÒFaiz yiyenler (kabirlerinden) ancak
ßeytanÝn dokunup •arptÝÛÝ kimsenin
kalktÝÛÝ gibi kalkarlar. Bu onlarÝn ÒalÝßveriß de faiz gibidirÓ demeleri
yŸzŸndendir. Halbuki Allah, alÝßverißi
helal, faizi haram kÝlmÝßtÝr. Bundan
bšyle, kime RabbÕinden bir šÛŸt gelir
de yaptÝÛÝndan vazge•erse, ge•mißte
olan kendisinindir ve ißi de AllahÕa
kalmÝßtÝr. Kim de yeniden (faizciliÛe)
dšnerse, ißte onlar cehennemliktir, onlar
orada sŸrekli olarak kalacaklardÝr.Ó
(Bakara 275) Ò(Zenginlerin) OnlarÝn
mallarÝnda isteyen fakirlerin de iffetinden
dolayÝ istemeyen fakirlerin de hakkÝ
vardÝr.Ó (Mearic 24-25)
Hattat:
Abdurrahman Ahmed El-ABDë
Tezhip:
Arzu Tozlu
Albaraka TŸrk
SŸlŸs-Nes”h
1.Õlik …dŸlŸ
43
FatÝr Suresi 29. Ayet
Hadis-i Þer”f:
Buhari, Zekat 18, Savm 4,
Tirmizi, Üman 8
TŸrk•e Meali:
ÒAllahÝn KitabÝnÝ okuyanlar ve
namazÝ kÝlanlar ve kendilerine
verdiÛimiz rÝzÝktan (Allah i•in) gizli
ve a•Ýk sarf edenler, asla zarara
uÛramayacak bir kazan• Ÿmit
edebilirler.Ó (FatÝr 29) ÒVeren el alan
elden hayÝrlÝdÝr. YardÝm etmeye,
ge•imini ŸstlendiÛin kimselerden
baßla. SadakanÝn hayÝrlÝsÝ, ihtiya•
fazlasÝ maldan verilendir. Kim
insanlardan bir ßey istemezse, Allah
onu kimseye muhta• etmez. Kim de
tokgšzlŸ olursa, Allah onu zengin
kÝlar.Ó (Buhari, Zekat 18) ÒSadaka,
suyun ateßi sšndŸrdŸÛŸ gibi gŸnahÝn
ateßini sšndŸrŸr.Ó (Tirmizi, Üman 8)
ÒSadaka vermeyi sevenler sadaka
kapÝsÝndan (cennete girmeye) davet
edilirler.Ó (Buhari, Savm 4)
Hattat:
BetŸl KIRKAN
(Üstanbul, 1971)
Tezhip:
Zehra Durmuß
Albaraka TŸrk
SŸlŸs-Nes”h
2.Õlik …dŸlŸ
44
Kasas Suresi 77. Ayet
Hadis-i Þer”f:
Buhari, Zek‰t 18, MŸslim,
MŸs‰kat 121
TŸrk•e Meali:
ÒAllah sana nasÝl iyilik ettiyse sen
de šyle iyilik et.Ó (Kasas 77)
ÒVeren el alan elden hayÝrlÝdÝr.
YardÝm etmeye, ge•imini ŸstlendiÛin
kimselerden baßla. SadakanÝn
hayÝrlÝsÝ, ihtiya• fazlasÝ maldan
verilendir. Kim insanlardan bir ßey
istemezse, Allah onu kimseye muhta•
etmez. Kim de tokgšzlŸ olursa,
Allah onu zengin kÝlar.Ó
(Buhari, Zekat 18)
ÒSizin en hayÝrlÝnÝz, bor• šdeme
konusunda en iyi olanÝnÝzdÝr.Ó
(MŸslim, MŸs‰kat 121)
Hattat:
(Irak, 1967)
Tezhip:
Seher AßÝcÝ
Albaraka TŸrk
SŸlŸs-Nes”h
3.ÕlŸk …dŸlŸ
45
Kasas Suresi 77,
MŸzzemmil Suresi 20,
Bakara Suresi 195 ve 276,
åli Ümran Suresi 134. Ayetler
TŸrk•e Meali:
ÒAllah sana nasÝl iyilik ettiyse sen
de šyle iyilik et.Ó (Kasas 77)
ÒNamazÝ kÝlÝn, zek‰tÝ verin ve AllahÕa
gŸzel bir šdŸn• verin. Kendiniz i•in
gšnderdiÛiniz her iyiliÛi, Allah
katÝnda daha hayÝrlÝ ve sevap•a daha
bŸyŸk olarak bulacaksÝnÝz. AllahÕtan
af dileyin. ÞŸphesiz Allah •ok
baÛÝßlayÝcÝ, •ok esirgeyicidir.Ó
(MŸzzemmil 20) ÒAllah yolunda
harcayÝn. Kendi ellerinizle kendinizi
tehlikeye atmayÝn. Her tŸrlŸ
hareketinizde dŸrŸst davranÝn. ‚ŸnkŸ
Allah dŸrŸstleri sever.Ó (Bakara 195)
ÒAllah kŸfŸrde ve gŸnahda Ýsrar eden
hi• kimseyi sevmez.Ó (Bakara 276)
ÒO takva sahipleri ki, bollukta ve
darlÝk zamanlarÝnda Allah i•in
yardÝm ederler, šfkelerini yutarlar
ve insanlarÝ affederler. Allah da gŸzel
davranÝßta bulunanlarÝ sever.Ó
(åli Ümran 134)
Hattat:
Emine SAÚMAN
(EyŸp/Üstanbul, 1968)
Tezhip:
Arzu Tozlu
Albaraka TŸrk
SŸlŸs-Nes”h
Teßvik …dŸlŸ
46
Hadis-i Þer”f:
Buhari, Savm 4, BŸyž 15, Zekat 18,
MŸslim, MŸs‰kat 92, Zekat 130,
MŸs‰kat 129,
Tirmizi, ZŸhd 26
åli Ümran Suresi 161. Ayet
TŸrk•e Meali:
ÒSadaka vermeyi sevenler sadaka kapÝsÝndan
(cennete girmeye) davet edilirler.Ó
(Buhari, Savm 4) ÒHer kim AllahÕa ve ahiret
gŸnŸne iman ediyorsa sakÝn misli mislinden fazla
bir ßey almasÝn.Ó (MŸslim, MŸs‰kat 92) ÒKim
emanete (devlet malÝna) hÝyanet ederse, kÝyamet
gŸnŸ, hainlik ettiÛi ßeyin gŸnahÝ boynuna asÝlÝ
olarak gelir.Ó (Ali Ümran 161) ÒZenginlik mal
•okluÛundan ibaret deÛildir. (Hakiki) Zenginlik,
gšnŸl zenginliÛidir.Ó (MŸslim, Zek‰t 130) ÒHi•
kimse, asla kendi kazancÝndan daha hayÝrlÝ bir
rÝzÝk yememißtir...Ó (Buhari, BŸyž 15) ÒÞŸphesiz
her Ÿmmetin bir fitnesi vardÝr. †mmetimin fitnesi
(Ümtihan sebebi) de maldÝr.Ó (Tirmizi, ZŸhd 26)
ÒVeren el alan elden hayÝrlÝdÝr. YardÝm etmeye,
ge•imini ŸstlendiÛin kimselerden baßla.
SadakanÝn hayÝrlÝsÝ, ihtiya• fazlasÝ maldan
verilendir. Kim insanlardan bir ßey istemezse,
Allah onu kimseye muhta• etmez. Kim de
tokgšzlŸ olursa, Allah onu zengin kÝlar.Ó (Buhari,
Zek‰t 18) ÒHer kim ihtik‰r yaparsa asi
olmußtur.Ó (MŸslim, MŸs‰kat 129)
Hattat:
(Irak, 1963)
Tezhip:
Ayten Tiryaki
Albaraka TŸrk
SŸlŸs-Nes”h
Teßvik …dŸlŸ
47
Ali Ümran Suresi 161. Ayet
Hadis-i Þer”f:
Buhari, Zek‰t 18, MŸslim, Zek‰t 52,
Tirmizi, ZŸhd 26
TŸrk•e Meali:
ÒKim emanete (devlet malÝna) hõyanet
ederse, kÝyamet gŸnŸ, hainlik ettiÛi
ßeyin gŸnahÝ boynuna asÝlÝ olarak
gelir.Ó (Ali Ümran 161)
ÒVeren el alan elden hayÝrlÝdÝr. YardÝm
etmeye, ge•imini ŸstlendiÛin
kimselerden baßla. SadakanÝn hayÝrlÝsÝ,
ihtiya• fazlasÝ maldan verilendir. Kim
insanlardan bir ßey istemezse,
Allah onu kimseye muhta• etmez. Kim
de tokgšzlŸ olursa, Allah onu zengin
kÝlar.Ó (Buhari, Zek‰t 18)
ÒHer iyilik sadakadÝr.Ó
(MŸslim, Zek‰t 52)
ÒÞŸphesiz her Ÿmmetin bir fitnesi
vardÝr. †mmetimin fitnesi (imtihan
sebebi) de maldÝr.Ó (Tirmizi, ZŸhd 26)
Hattat:
Tezhip:
Oya Atila
Albaraka TŸrk
SŸlŸs-Nes”h
Teßvik …dŸlŸ
48
CELë TAÕLëK
JALI TALIQ
Beyit:
Ziya Paßa
rÃGn™rcpG ÃnO Â¡nSrQÄoc rñ¡pžÇpbƒnj r‰nbGn—¡nU Ânfƒn¡•rfpG
rönG pŠn™¡r nM r·p™ndho™rZhoO rQp—Ç¡p•ÇpŽre pOrQƒnj
Ünsana sadakat yakÝßÝr gšrse de ikrah
YardÝmcÝsÝdÝr doÛrularÝn Hazret-i Allah
Hattat:
Tahsin KURT
(Van, 1965)
Tezhip:
Hasan Korkmaz
Albaraka TŸrk
Cel” TaÕl”k
1.Õlik …dŸlŸ
51
Hadis-i Þer”f:
MŸslim, Zek‰t 130
s¿pµ$d nh p¢Vn™n©drG mIn™r‹nc r¿nY Ån¾p¬drG n¢•rÇnd
.p¢•r¯s¾dG Ån¾Zp Ån¾p¬drG
TŸrk•e Meali:
ÒZenginlik mal •okluÛundan ibaret
deÛildir. (Hakiki) Zenginlik,
gšnŸl zenginliÛidir.Ó
Hattat:
Ali RÝza …ZCAN
(Zonguldak, 1968)
Tezhip:
Seher AßÝcÝ
Albaraka TŸrk
Cel” TaÕl”k
Teßvik …dŸlŸ
52
CELë DÜVåNë
JALI DEEWANI
pQƒnÁs¾dG nh p¹rÇs¸dƒpH r¼oÁndGnÄrenG nÀÄo²p¯r¾oj n¿j*˜sdnG
r¼pÁuHnQ n—r¾pY r¼ogo™rLnG r¼Áo n¸na k‡nÇpf nînY nh Gv™p¡S
.nÀÄofn›r‘nj r¼ognÕ nh r¼pÁrÇn¸nY l±rÄnN nÕ nh
TŸrk•e Meali:
ÒMallarÝnÝ gece ve gŸndŸz, gizli
ve a•Ýk hayra sarf edenler var ya,
onlarÝn mŸk‰fatlarÝ Allah
katÝndadÝr. Onlara korku yoktur,
ŸzŸntŸ de •ekmezler.Ó
Hattat:
Khaled EL-SAEÜ
(Suriye)
Tezhip:
Ayßenur Kadak•Ýveli
Albaraka TŸrk
Cel” Div‰n”
1.Õlik …dŸlŸ
55
Nisa Suresi 29. Ayet
r¼oµnd GnÄrenG GÄ%o¸ocrCƒnJ nÕ GÄo¾ne$G n¿j*˜sdG ƒnÁtjnG %ƒnj
kInQƒnŽpJ nÀÄoµnJ rÀnG s%ÕpG p¹pWƒn„rdƒpH r¼oµn¾rÇnH
r¼oµn¡•o¯rfnG GÄ%o¸oˆr²nJ nÕ nh r¼oµr¾pe m¢VGn™nJ r¿nY
.ƒk»Ç*MnQ r¼oµpH nÀƒnc nöG sÀpG
TŸrk•e Meali:
ÒEy iman edenler! KarßÝlÝklÝ rÝzaya
dayanan ticaret yolu dÝßÝnda,
mallarÝnÝzÝ aranÝzda haksÝz ve
haram yollarla yemeyin.
Nefislerinizi de šldŸrmeyin.
ÞŸphesiz Allah,
size karßÝ •ok merhametlidir.Ó
Hattat:
Enver Abdusselam
AL HALAVåNë
Tezhip:
NilŸfer Kurfeyz
Selim SaÛlam
Albaraka TŸrk
Cel” Div‰n”
2.Õlik …dŸlŸ
56
Tevbe Suresi 79. Ayet
nò*¾peDÄr oÙG n¿pe nò*YuÄs£oÙrG nÀho›p»r¸nj n¿j*˜sdnG
sÕpG nÀho—pŽnj nÕ n¿j*˜sdG nh pŠƒnbn—s¡ŸdG Åpa
oöG n™p”n¡S r¼oÁr¾pe nÀho™n”r¡•nÇna r¼ogn—rÁoL
.l¼Ç*dnG l†Gn˜nY r¼oÁndhn r¼oÁr¾pe
TŸrk•e Meali:
ÒSadakalarÝ konusunda gšnŸlden
veren mŸminleri •ekißtiren ve
gŸ•lerinin yettiÛinden baßkasÝnÝ
bulamayanlarla alay edenler
yok mu, Allah onlarÝ maskaraya
•evirmißtir. Onlar i•in can yakÝcÝ
bir azap vardÝr.Ó
Hattat:
Mustafa PARILDAR
(Siverek/ÞanlÝurfa, 1982)
Tezhip:
Hande Berra
Albaraka TŸrk
Cel” Div‰n”
Teßvik …dŸlŸ
57
…D†L KAZANANLAR
AWARD WINNERS
Jawad Khouran
Ferhat KURLU
Muhammed D. CELLóL
(Üran, 1977)
(Fatsa/Ordu, 1976)
(Basra/Irak, 1974)
Cel” SŸlŸs
2.Õlik …dŸlŸ
Cel” SŸlŸs
3.ÕlŸk …dŸlŸ
Hat derslerini 1975 yÝlÝnda Mahmut S‰bžn” el-Haleb”
Hoca efendiÕden aldÝ. 2002 yÝlÝnda AbdŸlhamid ElK‰tib adÝna dŸzenlenen Hat SanatÝ YarÝßmasÝÕnda
cel” div‰n” dalÝnda birincilik šdŸlŸ aldÝ. 2003 yÝlÝnda
AbdŸlhamid El-K‰tib adÝna dŸzenlenen hat sanatÝ
yarÝßmasÝnda sŸlŸs dalÝnda ikincilik šdŸlŸ aldÝ. 2003
yÝlÝnda M”r ÔÜm‰d el-Hasan” adÝna dŸzenlenen 6.
UluslararasÝ Hat SanatÝ YarÝßmasÝÕnda div‰n” dalÝnda
3.ÕlŸk šdŸlŸ aldÝ. 2005 yÝlÝnda AbdŸlhamid El-K‰tib
adÝna dŸzenlenen hat sanatÝ yarÝßmasÝnda Div‰n”
dalÝnda 3.ÕlŸk šdŸlŸ aldÝ. DŸnyanÝn en bŸyŸk
KurÕan-Ý KerimÕi olan Þam MushafÝÕnÝn dšrdŸncŸ
bšlŸmŸnŸn yazÝmÝna ißtirak etti.
1974Õte BasraÕda doÛdu. 1996Õda Basra †niversitesi
Ünßaat MŸhendisliÛiÕni bitirdi. Irak MŸhendisler
BirliÛi, IraklÝ Hattatlar Cemiyeti, Irak GŸzel Sanatlar
Cemiyeti, †rdŸn Hattatlar Cemiyeti, Emirlikler
GŸzel Sanatlar Cemiyeti, Dubai Arap Hattatlar
Gurubu †yelikleri bulunmaktadÝr. 1989Õda BaÛdat
Arab” HŸsn-Ÿ Hat Milli Sergisi MŸkemmellik …dŸlŸ
aldÝ.1993Õte BasraÕda ilk, 1994Õte ikinci kißisel
sergisini a•tÝ. 1996Õda Basra Arap•a Hat Sergisi 2.Õlik
šdŸlŸnŸ aldÝ. 1998, BaÛdat UluslararasÝ Arap Hat
SanatÝ & Üslami SŸsleme SanatÝ Festivali, 2.Õlik
…dŸlŸnŸ aldÝ. 2000 yÝlÝnda Üstanbul UluslararasÝ Arap
Hat SanatÝ YarÝßmasÝ tavsiye šdŸlŸnŸ aldÝ. Bunlardan
baßka •eßitli yarÝßmalardan dereceleri de bulunan
sanat•Ý Arap hŸsn-Ÿ hat sanatÝnda 18 yÝllÝk tecrŸbeye
sahiptir.
…zel …dŸl
SŸlŸs
2.Õlik …dŸlŸ
1977Õde ÜranÕda doÛdu. 1998-2002Õde ÜranÕda
Hattat Hakim GhannamÕÝn yanÝnda hŸsn-Ÿ hat
•ÝraklÝÛÝ yaptÝ. Daha sonra Hattat Muhammed
…z•ayÕÝn yanÝnda hŸsn-Ÿ hat •alÝßmak Ÿzere
ÜstanbulÕa taßÝndÝ. SŸlŸs icazetini bir yÝlda
tamamladÝ ve Hattat Muhammed …z•ayÕÝn
yanÝnda cel” sŸlŸs eÛitimi gšrmeye devam etti.
2004Õte ÜstanbulÕda 6. UluslararasÝ HŸsn-Ÿ Hat
YarÝßmasÝÕnda cel” sŸlŸs ve sŸlŸs hatlarÝnda
birincilik šdŸllerini kazandÝ. KatÝldÝÛÝ sergiler:
2004 Dubai UluslararasÝ Arab” HŸsn-Ÿ Hat Sergisi,
2005 Dubai UluslararasÝ Arab” HŸsn-Ÿ Hat Sergisi.
He was born in Iran in 1977. In Iran between 1998
Ð 2002, he had practiced apprenticeship beside the
Calligrapher Hakim Ghannam. Afterwards, he
moved to Istanbul in order to practice calligraphy
beside the Calligrapher Muhammed …z•ay. He had
completed his Thuluth diploma in one year and
continued his training beside the Calligrapher
Muhammed …z•ay 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.
Cel” SŸlŸs
1.Õlik …dŸlŸ
SŸlŸs
1.Õlik …dŸlŸ
Ferhat Kurlu 1976Õda FatsaÕda doÛdu. Muzaffer
Ecevit BeyÕden hat sanatÝna ilgi uyandÝran ilk
sanat bilgilerini ve ilk rik'a derslerini aldÝ.1996Õda
Hattat Hasan ‚elebi Hoca ile sŸlŸs-nes”h meßkine
baßladÝ. 2000 yÝlÝnda IRCICAÕda yapÝlan icazet
tšreniyle sŸlŸs-nes”h icazetini aldÝ. IRCICA
tarafÝndan dŸzenlenen 5. MilletlerarasÝ Hat
YarÝßmasÝÕnda cel” sŸlŸs dalÝnda 1.Õlik šdŸlŸ 6.
yarÝßmada sŸlŸs dalÝnda mansiyon šdŸlŸ aldÝ.
13. Devlet Hat YarÝßmasÝÕnda baßarÝ šdŸlŸ, Antik
A.Þ. tarafÝndan dŸzenlenen Hilye-i Þerif
YarÝßmasÝÕnda cel” sŸlŸs-sŸlŸs-nes”h dallarÝnda
1.Õlik šdŸlŸne layÝk gšrŸldŸ (2005). Bir tanesi
DubaiÕde olmak Ÿzere ondan fazla karma sergiye
ißtirak etti. ÜstanbulÕda ve civar illerde bir•ok cami
ve mescidin, •eßmenin kitabe, kubbe, kußak ve
mermer yazÝlarÝnÝ yazdÝ. 100 civarÝnda hilye-i
ßerif, 40 civarÝnda šzgŸn sŸlŸs, cel” sŸlŸs esere
imza attÝ.
Ferhat Kurlu was born in Fatsa in 1976. His first
inspiring knowledge in callingraphy writting and his
first RikÕa 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.SÕde (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 Üstanbul and
surrounding cities. He had written around 100 Hilyai Sharif, around 40 original Thuluth and Jali Thuluth
works.
He received his calligraphy lessons from Mahmut
S‰bžn” 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.
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
Ahmet FARÜS RIZIG
Ali RÝza …ZCAN
(Erzurum, 1968)
(MÝsÝr, 1980)
(Fransa, 1968)
(Zonguldak, 1968)
Cel” SŸlŸs
3.ÕlŸk …dŸlŸ
Cel” SŸlŸs
Teßvik …dŸlŸ
Cel” SŸlŸs
Teßvik …dŸlŸ
Cel” SŸlŸs
Teßvik …dŸlŸ
1968 yÝlÝnda ErzurumÕda doÛdu.
1996Õda AtatŸrk †niversitesi KazÝm
Karabekir EÛitim FakŸltesi Resim
BšlŸmŸÕnden mezun oldu. Davut Bektaß
HocaÕdan sŸlŸs-nes”h dersleri almaya
devam etmektedir.
1980Õde Suudi ArabistanÕda doÛan sanat•Ý MÝsÝr
uyrukludur. Arab” hŸsn-Ÿ hat diplomasÝ sahibidir.
A.R.E. 2003Õte sÝnÝfÝnÝn birincisi oldu. 2003
…Ûretmenlik YarÝßmasÝÕnda birinci oldu. IRCICA,
Üstanbul 5. UluslararasÝ Arab” HŸsn-Ÿ Hat
YarÝßmasÝnda Ÿ•ŸncŸlŸk šdŸlŸnŸ kazandÝ. 2000,
2003 yÝllarÝ Beßinci ve AltÝncÝ UluslararasÝ Arab”
HŸsn-Ÿ Hat YarÝßmalarÝnda Ÿ• Üncowage šdŸlŸ
kazandÝ. Halen KŸltŸr BakanlÝÛÝ GŸzel Sanatlar
sektšrŸnde hattat olarak, Kahire Arab” HŸsn-Ÿ Hat
AkademisiÕnde ve Khalil Agha OkuluÕnda Arap•a
hŸsn-Ÿ hat šÛretmeni olarak •alÝßmaktadÝr.
1968 yÝlÝnda FransaÕnÝn Le Havre ßehrinde doÛdu.
1985Õde ParisÕteki Paul Lapie LisesiÕnin sanat ve
edebiyat bšlŸmŸnden mezun oldu. 1988 yÝlÝnda
HollandaÕda tanÝßtÝÛÝ eßiyle, eÛitimini yarÝda
bÝrakarak evlendi ve TŸkiyeÕye yerleßti. Lise
yÝllarÝndan kÝsmen bilgi sahibi olduÛu Üsl‰m diniyle
daha yakÝndan tanÝßÝp mŸslŸman oldu. …nceden
beri ilgi duyduÛu uzakdoÛu kaligrafi sanatÝnÝn da
etkileßimiyle TŸrk hat sanatÝnÝ šÛrenmeye karar
verdi. 1995Õte baßladÝÛÝ hat sanatÝnÝn, sŸlŸs ve
nes”h dallarÝnda Hattat HŸseyin KutluÕdan 2001
yÝlÝnda icazet aldÝ ve deÛißik karma sergilere katÝldÝ.
Halen Ali Paßa TŸrk Üsl‰m SanatlarÝ
KŸtŸphanesiÕnde faaliyetlerini sŸrdŸrmektedir.
1988Õde Mimar Sinan †niversitesi GŸzel Sanatlar
FakŸltesi Geleneksel TŸrk El SanatlarÝ BšlŸmŸÕnŸ
bitirdi. 1989 yÝlÝnda ÒKlasik Devir Kur Õan-Ý
KerimleriÕnin Tezhibli SayfalarÝÓ adlÝ teziyle yŸksek
lisans, 1996Õda da ÒTŸrk NesÕtalik EkolŸÓ adlÝ eser
•alÝßmasÝyla sanatta yeterlik mezunu oldu. Prof.
Dr. Ali AlparslanÕdan taÕlik, Div‰n”, cel” div‰n”, RikÕa;
Hattat HŸseyin KutluÕdan sŸlŸs-nes”h yazÝ •eßitlerinden
icazetname aldÝ. KŸltŸr BakanlÝÛÝÕnÝn a•tÝÛÝ Devlet
TŸrk SŸsleme SanatlarÝ YarÝßmalarÝ, IRCICAÕnÝn
dŸzenlediÛi uluslararasÝ hat yarÝßmalarÝ ile JaponyaÕda
yapÝlan yazÝ yarÝßmasÝnda šdŸller aldÝ. M.S.†.
Geleneksel El SanatlarÝ Hat Anasanat DalÝÕnda
araßtÝrma gšrevlisi olarak gšreve baßladÝ. Halen
aynÝ bšlŸmde bšlŸm baßkan yardÝmcÝsÝ olarak
•alÝßmaktadÝr.
He was born in Erzurum in 1968. In
1996, he was graduated from Art
Department of Kazõm Karabekir
Education Faculty of AtatŸrk University.
He is continuing to get Thuluth Ð Naskh
lessons from the calligrapher Davut
Bektaß.
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.
She was born in Le Havre Ð 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
HŸseyin 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 Ð
Islam Arts Library.
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 ÒOrnamented Pages of
Classical Period QuransÓ in 1989 and Competency
in Art degree with ÒTurkish Naskhtaliq SchoolÓ in
1996. He received his Taliq, Deewani, Jali Deewani,
Riqa diplomas from Prof. Dr. Ali Alparslan and thuluth
Ð naskh diploma from the calligrapher from HŸseyin
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
(Irak, 1963)
SŸlŸs
Teßvik …dŸlŸ
/
SŸlŸs-Nes”h
Teßvik …dŸlŸ
/
Cel” TaÕl”k
Teßvik …dŸlŸ
1991 yÝlÝnda hat sanatÝna meßk etti. 1993Õte
IRCICA Hat SanatÝ YarÝßmasÝÕnda nesih ve icaze
dalÝnda iki mansiyon šdŸlŸne layÝk gšrŸldŸ.
1995 yÝlÝnda †stad Yusuf Zunun ve †stad Ahmed
AbdurrahmanÕdan iki Ò icazetnameÓ aldÝ. 1995
yÝlÝnda BaÛdat YŸksek Hat ve SŸsleme SanatÝ
FestivaliÕnde madalya aldÝ. 1996Õda ise ÜstanbulÕda
IRCICA tarafÝndan dŸzenlenen Þeyh Hamdullah
el-Amasi Hat SanatÝ YarÝßmasÝÕnda nesih dalÝnda
Ÿ•ŸncŸlŸk šdŸlŸne layÝk gšdŸldŸ. 1999Õda
ger•ekleßtirilen Seyyid Übrahim Hat YarÝßmasÝÕnda
nesih dalÝnda mansiyon šdŸlŸ aldÝ. 2002 yÝlÝnda
Katar MushafÝ YazÝmÝ YarÝßmasÝÕnda 1.lik derecesi
aldÝ. 2004 yÝlÝnda Ò Mir Ümad el-HasaniÓ YarÝßmasÝ
sŸlŸs dalÝnda 3.lŸk šdŸlŸ aldÝ. 2005Õte ise Hattat
Prof. Dr. Ali Alparslan HocaÕdan taÕlik alanÝnda
icazetname aldÝ. AyrÝca sŸlŸs ve nesih hatlarÝ
dalÝnda Ÿstad Hasan ‚elebi ve Ÿstad HŸseyin
Kutlu ve Fuad BaßarÕdan da icazetname aldÝ.
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 ÒMir Imad elHasaniÓ 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 HŸseyin
Kutlu and master Fuad Baßar.
(Irak, 1967)
SŸlŸs
Teßvik …dŸlŸ
SŸlŸs-Nes”h
3ÕlŸk …dŸlŸ
†niversitede yÝllarõnda Ÿstat Yusuf Zennžn ile
tanÝßtÝ. 1995 yÝlÝnda hat icazetini bu hocadan
aldÝ. 1986 yÝlÝnda 1. UluslararasÝ YarÝßma, 1987
yÝlÝnda DŸnya BaÛdat Festivali, 1996 yÝlÝnda
dŸzenlenen 4. UluslararasÝ YarÝßmaÕya katÝldÝ ve
Cel” SŸlŸs dalÝnda 1.Õlik šdŸlŸ ile sŸlŸs dalÝnda
da šdŸle layÝk gšrŸldŸ. 3. UluslararasÝ BaÛdat
FestivaliÕne katÝldÝ ve Kufe šdŸlŸnŸ aldÝ. 1999
yÝlÝnda 5. UluslararasÝ yarÝßmaÕda SŸlŸs ve
muhakkik hat sanatlarÝ dalÝnda iki šdŸl
kazandÝ.1998 yÝlÝnda Birinci Erbil ÞenliÛiÕndeki
yarÝßmada Irak 1.Õlik šdŸlŸnŸ aldÝ. 6. UluslararasÝ
Hat SanatÝ YarÝßmasÝÕnda sŸlŸs ve Nes”h dalÝnda
iki šdŸl kazandÝ. ErbilÕde 1996 yÝlÝnda 1., 2004
yÝlÝnda 2. šzel sergisini a•tÝ.
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.
Nuh El-HAMD
Haysem EL-HAMADE
(Suriye, 1968)
(Suriye, 1970)
SŸlŸs
Teßvik …dŸlŸ
SŸlŸs
Teßvik …dŸlŸ
HalepÕteki šÛretmen okulundan mezun oldu.
AbdŸlhamid El-K‰tib Hat YarÝßmasÝÕnda sŸlŸs hattÝ
dalÝnda birincilik šdŸlŸnŸ kazandÝ. Rakka Þehri,
2004.
2005Õte ise AbdŸlhamid el-K‰tib Hat YarÝßmasÝÕnda
c e l” di v‰n” dal Ý nda Ÿ•ŸncŸl Ÿk šdŸl Ÿ al dÝ .
SuriyeÕde yÝllÝk sergilere katÝldÝ. Hattat Abdullah
HasanÕÝn derslerine devam ederek yšnlendirmelerinden istifade etti.
Selmu ismiyle bilinen Haysem El-Hammade 1970
doÛumludur. BaßlangÝ•ta hat ile ilgili •alÝßmalarÝna
bŸyŸk TŸrk hattatlarÝnÝn •alÝßmalarÝna ve
kaynaklarÝna mŸracaat ederek baßladÝ. Sonra
Abdullah Hasan Hoca efendiÕnin
yšnlendirmeleriyle hat sanatÝna devam etti.
‚alÝßmalarÝnÝ tamamlamak i•in Hattat Hasan
‚elebiÕnin derslerine devam etti. IRCICAÕnÝn
dŸzenlemiß olduÛu M”r ÔIm‰d El-Hasen”
yarÝßmasÝnda rikÕa hat sanatÝ dalÝnda šdŸl kazandÝ.
Halen HalepÕte šrneklemeli ve uygulamalÝ sanat
merkezinde ders vermektedir.
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.
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.
62
Abdurrahman Ahmed El-ABDë
BetŸl KIRKAN
Emine SAÚMAN
(Üstanbul, 1971)
(EyŸp/Üstanbul, 1968)
SŸlŸs-Nes”h
1.Õlik …dŸlŸ
SŸlŸs-Nes”h
2Õlik …dŸlŸ
SŸlŸs-Nes”h
Teßvik …dŸlŸ
SŸlŸs-Nes”h
Teßvik …dŸlŸ
1973Õte HalepÕte doÛdu. Hat derslerine 1990 yÝlÝnda
Hattat Muhammed Dib CellžlÕde baßladÝ. Daha sonra
bu dersleri, Hattat Ahmed Emin ÞamtaÕnÝn derslerine
devam ederek sŸrdŸrdŸ. Bu arada bŸyŸk TŸrk
hattatlarÝn (Muhammed Þevk” ve Muhammed Üzzet)
meßklerinden yararlandÝ. 2003 yÝlÝnda Mir ÔÜmad elHasan” adÝna dŸzenlenen yarÝßmaya katÝldÝ ve nes”h
dalÝnda šdŸl aldÝ.
2002 yÝlÝnda AbdŸlhamid El-K‰tib adÝna dŸzenlenen
hat sanatÝ yarÝßmasÝna katÝldÝ ve sŸlŸs-nes”h hattÝ
•alÝßmasÝyla birincilik šdŸlŸ aldÝ. Yine 2004 Ð 2005
yÝllarÝnda dŸzenlenen aynÝ yarÝßmada nes”h hat sanatÝ
dalÝnda 3.ÕlŸk šdŸlŸ aldÝ.
1971 yÝlÝnda ÜstanbulÕda doÛdu. 1990Õda BakÝrkšy
Ümam-Hatip LisesiÕnden mezun oldu. 1991Õde Hattat
HŸseyin KutluÕdan sŸlŸs-nes”h meßk etmeye baßladÝ.
1995 yÝlÝnda icazet aldÝ. Halen UygulamalÝ TŸrk
Üsl‰m SanatlarÝ KŸtŸphanesiÕnde •alÝßmalarÝnÝ
sŸrdŸrmektedir.
1968Õde ÜstanbulÕda doÛdu. 1986 yÝlÝnda EyŸp
Ümam-Hatip LisesiÕnden mezun oldu. 1996Õda
Marmara †niversitesi Ülahiyat FakŸltesiÕni bitirdi.
Bir sŸre EyŸp Anadolu Ümam-Hatip LisesiÕnde
šÛretmenlik yaptÝ. 1994Õte Hattat HŸseyin Kutlu
Hoca ile hat •alÝßmalarÝna baßladÝ ve 2001 yÝlÝnda
sŸlŸs-nes”h icazeti aldÝ. 1999 yÝlÝnda Hatice AksuÕdan
tezhip dersleri almaya baßladÝ. Halen hat ve tezhip
•alÝßmalarÝna devam etmektedir.
Hat sanatÝna amatšr olarak 10 yaßÝnda baßladÝ. 1977
yÝlÝnda Muhammed Beßir el-Edleb” Hoca efendiÕden
rikÕa dersi aldÝ. 1983 yÝlÝnda HalepÕli hattat merhum
Übrahim er-Rif‰”Õnin yerine D”van HattatÝ olarak
Halep †niversitesine tayin edildi. 1985Ð1986Ð1988
ve 2003 yÝllarÝnda Halep †niversitesinÕdeki sergilere
katÝldÝ. 2004 Ð 2005 yÝllarÝnda ÞamÕda dŸzenlenen
sergiye sŸlŸs, nes”h ve icazet dallarÝnda katÝldÝ.
2005 yÝlÝnda Rakka ßehrinde dŸzenlenen yarÝßmaya
nes”h dalÝnda katÝldÝ ve ikincilik šdŸlŸnŸ kazandÝ.
2004 yÝlÝnda ÜstanbulÕda dŸzenlenen IRCICA Hat
YarÝßmasÝÕna katÝldÝ.
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 Þevk” and Muhammed Üzzet). 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 Ð 2005, he was awarded the 3rd prize in the
field of Naskh calligraphy.
She was born in 1971 in Istanbul. In 1990, she
graduated from BakÝrkšy Ümam-Hatip High School.
In 1991, she started taking Thuluth Ð Naskh lessons
from the Calligrapher HŸseyin Kutlu. She received
her diploma in 1995. Currently, she is continuing her
studies at Applied Turk Islam Arts Library.
She was born in Istanbul in 1968. In 1986, she
graduated from EyŸp Ümam-Hatip High School. In
1996 she graduated from Marmara University,
Faculty of Theology. She taught at EyŸp Anatolian
Ümam-Hatip High School for a while. In 1994, she
started taking calligraphy lessons from the
Calligrapher HŸseyin Kutlu and she received her
Thuluth Ð Naskh diploma in 2001. She started taking
ornamentation lessons from Hatice Aksu in1999. She
is still continuing her calligraphy ad ornamentation
studies.
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 Ð 1986 Ð 1988 and 2003. He
participated in the exhibition realized in Damascus
in 2004 Ð 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.
63
Tahsin KURT
Khaled EL SAEÜ
(Van, 1965)
(Suriye)
Cel” TaÕl”k
1.Õlik …dŸlŸ
Cel” Div‰n”
1.Õlik …dŸlŸ
1965Õte VanÕda doÛdu. Lise mezunu olup, šzel bir
ßirkette matbaacÝ olarak •alÝßmaktadÝr. 1984Õte ilk
meßkini Hattat Hasan ‚elebi HocaÕdan almaya
baßladÝ. 1987 yÝlÝnda Hattat Prof. Dr. Ali Alparslan
HocaÕdan taÕlik dersi aldÝ. 1991 yÝlÝnda nes”h taÕlik
hattÝndan icazet almÝßtÝr. 1994Õte de Hattat HŸseyin
Kutlu HocaÕdan sŸlŸs dersi almaya baßladÝ ve 2001
yÝlÝnda SŸlŸs hattÝndan da icazet almaya hak
kazandÝ. ‚eßitli karma sergilere de katÝlan hattatÝn,
šzel koleksiyonlarda bir•ok eseri bulunmaktadÝr.
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
HŸseyin 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.
Sanat•ÝnÝn katÝldÝÛÝ bazÝ sergiler ßunlardÝr:
2001- Cervantes Institute tarafÝndan organize edilen
ÔSanat ve TasavvufÕ Sergisi, (2001-2004) Þam Milli
MŸzesi, Amman Kraliyet MŸzesi, Halep Bilad AlSham Galerisi, Beyrut Unisco Palace, Üspanya
Seville, Granada 2002 - Birleßik Arap Emirlikleri,
Sharjah Sanat MŸzesi, 2003 - Boston, Wellesley
College, Salter International House, 2003 - Boston
Wellesley College, Salter International House,
2004 - Dubai Green Sanat Galerisi, Kißisel Sergi.
2005 - U of M Sanat MŸzesi, Toplu Sergi,
ÔOrtadoÛuÕda YazÝlÝ Sšz SanatÝÕ. BAE Dubai,
Majles Gallery, HŸsn-Ÿ Hatla YazÝlmÝß Þiirler,
Kißisel Sergi. Sanat•ÝnÝn verdiÛi konferanslar:
ÒArap•a HŸsn-Ÿ Hat ve KimlikÓ Kuveyt Plastik
Sanat Cemiyeti. ABD U of M, YakÝn DoÛu
‚alÝßmalarÝ DepartmanÝ, ÒArap•a LisanÝ ile Arap•a
HŸsn-Ÿ Hat ArasÝndaki ÜlißkiÓ, Vermont Middlebury
College, ÒArap•a HŸsn-Ÿ HattÝn Tarih•esiÓ, ABD
Michigan U of M, ÒYakÝn DoÛu ‚alÝßmalarÝ
DepartmanÝÓ, ÒArap•a HŸsn-Ÿ HattÝn Artistik
ÜfadesiÓ, Þam ÒTasavvuf ve HŸsn-Ÿ HatÓ.
Some of the exhibitions in which he participated
are as followsÊ:
2001 Ð ÒArt and SufismÓ exhibition organized by
Cervantes Institute: (2001 Ð 2004) Damascus
National Museum, Amman Royal Museum,
Aleppo, Bilad al-Sham Gallery, Beirut, Unisco
Palace, Spain, Seville, Granada 2002 Ð United Arab
Emirates, Sharjah Art Museum. 2003 Ð Boston,
Wellesley College, Salter International House, 2003
Ð Boston, Wellesley College, Salter International
House, 2004 Ð Dubai, Green Art Gallery, Personal
Exhibition. 2005 Ð U of M Art Gallery, Joint
Exhibition, ÒWritten Art of Words in the Middle
EastÓ, UAE, Dubai, Majles Gallery, Poems Written
by C a lligra phy, Pe rs ona l Exhibition. The
conferences given by the artist: ÒArabic Calligraphy
and IdentityÓ Kuwait Plastic Arts Association.
USA, U of M, Near East Studies Department, ÒThe
Relation between Arabic Language and Arabic
CalligraphyÓ, Vermont, Middlebury College, ÒThe
History of Arabic CalligraphyÓ, USA, Michigan,
U of M, Near East Studies Department, ÒThe
Artistic Expression of Arabic CalligraphyÓ,
Damascus, ÒSufism and CalligraphyÓ.
Enver Abdusselam EL-HALAVåNë
Mustafa PARILDAR
(Halep/Suriye,1966)
(Siverek/ÞanlÝurfa, 1982)
Cel” Div‰n”
2.Õlik …dŸlŸ
Cel” TaÕl”k
3.ÕlŸk …dŸlŸ
1966 Halep doÛumlu olan Halavani, dekor
mŸhendisliÛi mezunudur. Hat sanatÝnÝ, OsmanlÝÕnÝn
otorite hattatlarÝnÝn ve IraklÝ Hattat Haßim elBaÛd‰d” HocaÕnÝn koleksiyonlarÝndan šÛrendi.
Hi•bir hoca veya eÛitimciden ders almadÝ. 2003
yÝlÝnda Medine-i MŸnevvere mushafÝnÝn yazarÝ
Osman Taha hocadan sŸlŸs ve nes”h dalÝnda icazet
aldÝ. 1999 ve 2001Õde RiyadÕda dŸzenlenen 7. ve
8. Arap Hat SanatÝ YarÝßmasÝÕnda birincilik šdŸlŸ
aldÝ. 2002 ve 2003Õte Suudi ArabistanÕÝn geneline
yšnelik olarak dŸzenlenen 9. ve 10. Arap Hat SanatÝ
yarÝßmasÝÕnda birincilik šdŸlŸ aldÝ. 2004Õte Suriye
geneline yšnelik olarak dŸzenlenen yarÝßmada
div‰n” hat sanatÝ dalÝnda birincilik šdŸlŸ aldÝ.
Bir•ok yerli, Arap ve UluslararasÝ sergi ve
yarÝßmaya katÝldÝ. RiyadÕda bazÝ Arap hattatlarÝn
ortak olarak dŸzenlediÛi sergiye katÝldÝ. Halen
dŸnyanÝn en bŸyŸk KurÕan-Ý KerimÕi olan Þam
MushafÝÕnÝn yazÝmÝna ißtirak etmektedir.
Cel” Div‰n”
Teßvik …dŸlŸ
1982 yÝlÝnda ÞanlÝurfaÕnÝn Siverek il•esinde doÛdu.
Ümam-Hatip Lisesi mezunudur. Sel•uk †niversitesi
GŸzel Sanatlar FakŸltesi son sÝnÝf šÛrencisi olan
sanat•Ý, hat sanatÝna 1994 yÝlÝnda Mehmet Memiß
HocaÕdan sŸlŸs-nes”h dersleri alarak baßladÝ. Þu
anda HŸseyin …ksŸz Hoca Efendi ile taÕlik ve
div‰n” •alÝßmaktadÝr.
He was born in Siverek county of ÞanlÝurfa in
1982. He is a graduate of Imam-Hatib High School.
The artist, who is a senior student at Sel•uk
University, Fine Arts Faculty, started taking Thuluth
- Naskh lessons from the master Mehmet Memiß
in 1994. Currently, he is studying Taliq and
Deewani with the master HŸseyin …ksŸz.
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.
64

albaraka türk hat yarışması`ndan seçme eserler selected art work

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