Nigarhane Sanat Dergisi Latest Issue

ABSTRACT Râsih Nuri Ileri who is the grandson of the famous Kaside-i Bürde and Mesnevî commentator Âbidin Pasha is a well-known person due to his family and views. The most well known- and significant aspects about him are being the grandson of the commentator Kaside-i Bürde and Mesnevî Âbidin Pasha and the founder of Turkish Communist Party. Beside his deeply rooted family connections, his kinship with famous Turkish artist Âbidin Dino and the important Turkish architect Vedat Tek has always ben at the forefront. In addition to his rich calligraphy, library and collection of paintings, his archive is also strikingly rich. In addition to this rich archive, the memories in his memory undoubtedly made him important in recent history. Many of the people he had contact with in his extended family were important in recent history. When he talked about a subject, he could present a document or photograph on any subject, as well as the satisfying information in his memory, allowing us to listen to him carefully. The clarity and strength of his memory were astonishing. In consequence of having relationship and friends with many people from art to politics, a huge accumulation was created bringing together what he achieved in a collection. His most important feature was that he generously opened up this collection to people when necessary. He would proudly display the first parliamentary minutes in his very rich library. All the walls of the large apartment were full of books. Our acquaintance, which started when he wanted to meet with me about a zerendûd tableau signed by calligrapher Mustafa Râkım Efendi, continued until his death. Râsih Nuri Ileri had a very vivid personality and will be remembered dearly. Key Words: Âbidin Pasha, Calligraphy, Collection, Âbidin Dino, Archive.

Kebeci-zade Calligrapher Mehmed Vasfi Efendi is considered one of the important representatives of the Ottoman period. Born in Istanbul, Kebecizâde's exact date of birth is unknown. Although detailed information about Mehmed Vasfi Efendi's life is limited, it is known that he was known by the nickname Kebeci-zade and lived in the 19th century. He was known by this name because he was the son of Süleyman Efendi, a Kebeci tradesman. After completing his hafiz at a young age, he took calligraphy lessons from Ebu Bekir Rashid Efendi of Konya. After receiving his ijazah in 1767, he taught calligraphy at the Galata Palace and later at the Topkapı Palace. He taught Sultan Mustafa IV and Mahmud II. The ijazah certificate he gave to Mahmud II is known. Kebecizâde is known as one of the important representatives of the Hafiz Osman school. Mehmed Vasfi Efendi's works reflect the aesthetic understanding of his period and show the subtleties of calligraphy. Some of his works have survived to the present day and are in various museums and private collections. His works have great value both aesthetically and religiously and are considered an important part of Islamic art. He was especially successful in thuluth and nesih scripts. He trained many students and made important contributions to the art of calligraphy. Many of Kebecizâde's works have survived to the present day. These include mushafs, hilyas, stanzas and murakkas. His works reflect the elegance and subtlety of calligraphy. Kebecizâde had a pious and modest personality. He was compassionate towards his students and made an effort to make them love the art of calligraphy. He died in Istanbul in 1831 and was buried in Karacaahmet Cemetery.

The Umayyad Mosque, an essential milestone in early Islamic architecture, was built between 705-715 by the Umayyad Caliph Al-Walid ibn Abd al-Malik. Renowned in art and architectural history, the mosque is notable for its history, plan system, decorations, and architectural details. After Yavuz Sultan Selim's conquest of Damascus, the mosque came under Ottoman control. During the Ottoman period, the mosque underwent several interventions but suffered significant damage in a fire on October 15, 1893, during Sultan Abdulhamid II’s reign. The fire nearly destroyed the mosque, including the structure traditionally believed to be the Tomb of Prophet John, due to strong winds. Several surrounding buildings, too, were destroyed. Once the news reached Istanbul, restoration efforts were quickly initiated. Both locals and people from Istanbul contributed to the repair work. Edmonde Beşare’s reinforced concrete-based preliminary projects for the repairs were significant. Sultan Abdulhamid II tasked Osman Hamdi Bey with reporting on the mosque’s repairs. Osman Hamdi Bey recommended the "Tarz-ı Kadim" (old style) method for the restoration, favoring traditional Ottoman techniques over the suggested reinforced concrete. This approach reflected the classical Ottoman architectural period. The restoration highlighted the National Architectural Style, which would later become the state’s official style in 1908, being applied even before that. Changes to the mosque during the repairs, such as the addition of a muqarnas arch in the mihrab and a marble pulpit replacing the wooden one, demonstrate the National Architectural Style's influence. This restoration marks a key moment in the development of modern restoration awareness in the late Ottoman Empire.

Ord. Prof. Dr. Süheyl Ünver (1898–1986), regarded as one of the monumental figures of Turkish cultural history, possessed a multi-layered identity extending from medicine to art and art history. In addition to serving as a bridge that carried the artistic heritage of the Ottoman Empire into the twentieth century, he revitalized the magnificent arts of the past and, in a sense, became a source of renewal for them. The principal objective of his artistic career was the continuation of a civilizational mobilization built upon the recording of what had been lost and the remembrance and revival of what had been forgotten. Following in his footsteps, an awareness of transmitting the spirit of art was acquired through long yet profoundly enjoyable cultural journeys undertaken with him. The opportunity to collaborate with him and his esteemed daughter, Gülbün Mesara, in various artistic activities has always been regarded as a great honor. Within the efforts to trace the arts unique to our civilization, the environments in which Istanbul’s history and beauties were explored—amid a demanding yet invigorating cultural tempo—constituted some of the most exceptional moments in life. Among the numerous studies occasionally conducted on works belonging to our cultural heritage, research on gravestones held a significant place.

From the past to the present, social dynamics have been an important factor in the formation of cultural codes belonging to the existence of societies. The purpose of the article is to illuminate the historical course of Turkish decorative arts education from the Ottoman period to the Republic of Turkey with the changing understanding of education. In this context, the efforts to revive the forgotten Turkish arts fields over time, the institutions formed as a result of the initiatives made in this sense and their current status as they have transformed over time are discussed. The past and present of Traditional Turkish Arts are discussed and the art and cultural policies of the period are examined in our recent history. Turkish arts, which were influenced by Western arts for a long time and were on the verge of being forgotten, were revived during the reign of II. Abdülhamithan, by taking into account the art movements of the period and their contribution to the economy, and by taking into account the art activities of the Paris School of Fine Arts and art activities in Europe. Periodic evaluations have been made on how the Departments of Traditional Turkish Arts, known today as the Decorative Arts Education, which was added from the School of Fine Arts to the Medresetü’l Hattatin and from there to the Fine Arts Academies, were brought under the roof of YÖK, and how it has reached the present day, where the situation and needs have changed in other universities under the YÖK in today’s Turkey.

Authored in the 16th century by Ahmed b. Muhammad-i Gaffārī-yi Qazvīnī, Tārīkh-i Nigāristān is a comprehensive historical and literary work that covers nearly ten centuries, beginning from the first century of the Hijra. The text not only recounts the lives of prophets and Islamic rulers but also narrates the biographies of the Twelve Imams, scholars, and prominent figures of its time. Furthermore, it incorporates knowledge of astronomy, moral philosophy, and social ethics, interwoven with instructive anecdotes and humorous tales offering moral and didactic lessons. In this respect, Tārīkh-i Nigāristān stands as an encyclopedic compilation that fuses historical narrative with refined literary expression, reflecting both educational and aesthetic dimensions. This study examines three significant illustrated manuscripts of the work: Akm 272, held in the Aga Khan Museum (Canada); Walters Ms. W.598, preserved in the Walters Art Museum (United States); and Cod. Heid. Orient 222, kept at the Heidelberg University Library (Germany). Produced in Shiraz during the 16th and 17th centuries, these copies represent the artistic sophistication of the Safavid manuscript tradition through their elegant calligraphy, vibrant color palette, and intricately detailed miniatures. At the core of the research lies an iconographic and chronological analysis of royal imagery depicted in these miniatures. Elements such as crowns, thrones, headdresses, garments, postures, weapons, and other insignia of kingship have been systematically examined. Through a comparative analysis of six selected miniatures, the study highlights the political ideology, visual codes, and aesthetic conventions of the Safavid era. Moreover, the interplay between text and image is explored to identify the depicted rulers and contextualize the related narratives. Finally, the artistic milieu of Shiraz as a leading manuscript production center is assessed. Ultimately, this research positions Tārīkh-i Nigāristān as a crucial source for understanding the interrelation between art, authority, and representation in Safavid visual culture.

This study examines the use of calligraphic elements in painting and the aesthetic relationship these elements establish with the process of abstraction. Historically, calligraphy is a form of expression that conveys meaning through the rhythm of lines and letterforms. In modern and contemporary painting, it generally loses its readability, transforming into a formal aesthetic element. The primary aim of this work is to reveal how writing, letter, and line-based calligraphic elements are transformed within the process of abstraction in painting. With significant examples selected from Turkish and international art, which were evaluated in detail using the method of formal analysis. The artists examined represent different forms of abstraction through calligraphic traces on the pictorial surface. In this context, the spontaneous and gestural approaches of Western artists like Jackson Pollock, Brice Marden, and Cy Twombly are comparatively analyzed against the structural and mystical approaches of Eastern artists—such as Erol Akyavaş, Hasan Çelebi, and Ahmed Moustafa—who draw inspiration from the tradition of Hat (Islamic calligraphy). The analysis specifically discusses the contribution of plastic elements such as line movement, the use of void (negative space) on the pictorial surface, color distribution, and rhythmic repetition to abstraction. These elements separate calligraphic components from their traditional symbolic roles, transforming them into pure form and dynamic energy. Consequently, calligraphic elements are not only evaluated as text or symbols in painting but also as dynamic and autonomous plastic elements that create form, texture, and rhythm. This approach establishes a strong aesthetic bridge between the deeply rooted Eastern calligraphy tradition and the Western understanding of abstract painting, allowing calligraphy to be reinterpreted within the context of a universal pictorial language and adding new depth of expression to the art of painting. This transformation has enabled calligraphy to become a contemporary art practice that transcends cultural boundaries.