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171:. Bâyezïd then encouraged his court calligrapher, Hamdullah, to devise a new script, inspired by the acquisition. Hamdullah regarded al-Musta'simi's work as unsurpassable, but at Bâyezïd's insistence, Hamdullah reluctantly agreed. Scholars have suggested that Bâyezïd's enthusiasm for a new script was symbolic of his desire to establish a new empire and a new dynasty.
188:
or "Seyh's manner'. For this, he is often considered to be the "father of
Ottoman calligraphy". His many students spread his style throughout the Ottoman Empire. His style endured for 150 years, making him one of the greatest Ottoman calligraphers of all time. As much as two centuries later, students
300:
Biographical dictionaries outlining the lineages of calligraphers emerged as a small, but important literary genre in the 16th and 17th centuries. In these works, a tradition of tracing an unbroken line of master-pupil relationships back to Sheikh
Hamdullah, the man who was seen as the father of
219:
His son, Mawlana Dede
Chalabi, became a calligrapher after studying with Hamdallah (his father) and Hamdallah's daughter, whose name is unknown, married a calligrapher by the name of Shukrullah Halife of Amasya, who had also been one of her father's pupils. Hamdullah's grandsons also became
163:
who was a fellow student, and the pair became friends. When Bâyezïd assumed the throne in 1481, following his father's death, he invited his friend, Sheikh
Hamdullah, to the capital, Istanbul. Hamdullah went on to become a master calligrapher at the Imperial Palace.
248:
155:
In Amasya, he studied the six scripts under the tutelage of
Hayreddin Mar'asi. He learned the traditional method of the old masters, but struggled to reproduce it. While studying, he met
216:, a number of which are held in the collection of the Topkapi Palace. His inscriptions also decorate the Bâyezïd, Firuzaga and Davud Mosques in Istanbul and the Bâyezïd Mosque in Erdine.
272:
223:
As his reputation grew, many myths to his abilities outside calligraphy sprang up. It was said that he was a great archer, falconer, swimmer and even an extraordinary tailor.
284:
174:
Hamdullah underwent a period of reclusion during which time he claimed that a prophet taught him the new scripts in a vision. He ultimately recodified and refined the
561:
Baydar and
Hepworth, "Two Case Studies:The Rejoining of a Text-Block and the New Use of Remoistenable Tissue", in: Driscoll, M.J. and Mósesdóttir, E. (eds),
758:
753:
695:, BRILL, 2011, p.10. It may be worth noting that the original was republished in a 1939 edition, edited by Kilisli Muallim Rifat and published in Istanbul.
184:. Hamdullah's scripts were more elegant, balanced and legible. From 1500, the majority of Q'rans adopted Hamdallah's new style, which became known as the
260:
738:
710:
Mustafa Âli's Epic Deeds of
Artists: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World
693:
Mustafa Âli's Epic Deeds of
Artists: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World
672:
Mustafa Âli's Epic Deeds of
Artists: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World
651:
Mustafa Âli's Epic Deeds of
Artists: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World
589:
Mustafa Âli's Epic Deeds of Artists: A Critical Edition of the Earliest Ottoman Text about the Calligraphers and Painters of the Islamic World
674:, BRILL, 2011, p.10. It may be worth noting that a republished edition of the original appeared in 1938, edited by Kilisli Muallim Rifat
205:
220:
calligraphers; Pir Muhammad Dede (d. 986/1580, son of Hamdallah's daughter) and Dervish Muhammad (d. 888/1483, son of Mawlana Dede).
743:
209:
395:
196:
He devoted his whole life to the art of calligraphy, continuing to produce works well into his 80s. He produced 47
17:
368:
353:
748:
301:
Ottoman calligraphy, is evident. These 'genealogies' continue to be published into the present.
181:
168:
733:
728:
227:
160:
8:
638:
Printing Arab Modernity: Book Culture and The American Press in Nineteenth-Century Beirut
363:
125:
97:
605:
459:
412:
404:
239:
308:
109:
400:
537:
Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection, Istanbul
176:
121:
71:
48:
190:
722:
416:
141:
511:
The Art of the Qurʼan: Treasures from the Museum of Turkish and Islamic Arts
231:
38:
254:
Calligraphies ascribed to Şeyh Hamdullah from Murakka (calligraphic album)
550:
Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design
373:
358:
706:
Islamic Art in the 19th Century: Tradition, Innovation, And Eclecticism
685:
Islamic Art in the 19th Century: Tradition, Innovation, And Eclecticism
664:
Islamic Art in the 19th Century: Tradition, Innovation, And Eclecticism
630:
Islamic Art in the 19th Century: Tradition, Innovation, And Eclecticism
472:
Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection,
445:
Turkish Republic, Istanbul, Ministry of Culture and Tourism, n.d., p. 9
431:
Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection,
341:
Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection,
197:
156:
149:
44:
167:
In 1485, Bâyezïd II acquired seven works by the great calligrapher,
526:, (in Turkish and English), Türkiye İş Bankası Kültür, n.d., .p. 71
339:"The Genealogy of Ottoman Calligraphers" in: M. Uğur Derman (ed.),
235:
193:
continued to copy his works assiduously as part of their training.
137:
85:
483:Özkafa, F., "İstanbul ve Hat Sanatı" in: Yusuf Çağlar (ed.),
213:
145:
691:
Volume 4, Part 1, Nour Foundation, 1999, p.66; Akin-Kivanc, E.,
670:
Volume 4, Part 1, Nour Foundation, 1999, p.66; Akin-Kivanc, E.,
117:
67:
266:
Leaf from calligraphic album (illumination from 18th century)
201:
136:
Sheikh Hamdullah was born in Amasya, a north-central town in
689:
The Decorated Word: Qurʼans of the 17th to 19th Centuries,
668:
The Decorated Word: Qurʼans of the 17th to 19th Centuries,
602:
Les Calligraphes et les Miniaturistes de l'Orient Musulman
456:
Les Calligraphes et les Miniaturistes de l'Orient Musulman
487:, Istanbul: İstanbul Büyükşehir Belediyesi, 2010, p. 114.
576:
The Ottoman Historical Monumental Inscriptions in Edirne
485:
Bir Fotoğrafın Aynasında: İstanbul’un Meşhur Hattatları
304:
Examples of these calligraphic genealogies include:
394:
238:. Surviving examples of his works are held in the
496:Schimmel, A. Rivolta, B., "Islamic Calligraphy",
720:
634:Visions of Splendour in Islamic Art and Culture
539:, N.Y., Metropolitan Museum of Art, 1998, p. 19
278:Page of Ottoman Calligraphy by Sheikh Hamdullah
140:. His father, Mustafa Dede, was a Sheik of the
636:, Worth Press Limited, 2008, p. 44; Auji, H.,
226:He died in Istanbul in 1520 and was buried at
180:style of calligraphy, originally developed by
759:16th-century artists from the Ottoman Empire
754:15th-century artists from the Ottoman Empire
37:
565:, , Museum Tusculanum Press, 2009, p. 135
332:Müstakim-zade Süleyman Sa'deddin Efendi,
329:(دوحة الكتّاب) , first published c. 1737
290:Page of Pen Exercises by Sheikh Hamdullah
552:, Harvard University Press, 2017, , n.p.
474:Metropolitan Museum of Art, 1998 , p. 46
343:New York, Harry Abrams, 2010, pp 186–189
632:, BRILL, 2006, p.90-93; Khalili, N.D.,
563:Care and Conservation of Manuscripts 11
433:Metropolitan Museum of Art, 1998, p. 46
14:
721:
708:, BRILL, 2006, p.91; Akin-Kivanc, E.,
704:Behrens-Abouseif, D. and Vernoit, S.,
683:Behrens-Abouseif, D. and Vernoit, S.,
662:Behrens-Abouseif, D. and Vernoit, S.,
628:Behrens-Abouseif, D. and Vernoit, S.,
513:, Smithsonian Institution, 2016, p. 82
739:Calligraphers from the Ottoman Empire
443:Traditional Turkish Arts: Calligraphy
392:
318:Nefes-zade Ibrahim Efendi (d. 1650),
687:, BRILL, 2006, p.90-93; Bayani, M.,
666:, BRILL, 2006, p.90-91; Bayani, M.,
617:T Diez Albums: Contexts and Contents
325:Sayocluzâde Mehmed Necîb (d. 1757),
498:Metropolitan Museum of Art Bulletin
24:
25:
770:
524:فن الخط التركي بين الماضي والحاضر
403:; Matringe, Denis; Nawas, John;
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744:Burials at Karacaahmet Cemetery
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509:Türk ve İslâm Eserleri Müzesi,
51:style script, by Şeyh Hamdullah
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503:
500:, vol. 50, no. 1, 1992, p. 21
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411:(3rd ed.). Brill Online.
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1:
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369:List of Ottoman calligraphers
354:Culture of the Ottoman Empire
144:order, and had migrated from
161:Sultan Mehmed, the Conqueror
82:1520 (aged 83–84)
7:
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336:, first published c. 1788
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322:, first published c. 1640
295:
93:
78:
56:
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29:
619:, BRILL, c. 2016, p.136
315:first published in 1587
189:of calligraphy such as
409:Encyclopaedia of Islam
313:Epic Deeds of Artists,
113:
574:Dijkema, F.Th. (ed.),
393:Kazan, Hilal (2017).
712:, BRILL, 2011, p.11.
640:, BRILL, 2016, p. 27
578:, BRILL, 1977, p. 45
228:Karacaahmet Cemetery
364:Islamic calligraphy
230:in the district of
182:Yaqut al-Musta'simi
169:Yaqut al-Musta'simi
126:Islamic calligraphy
98:Islamic calligraphy
653:, BRILL, 2011, p.5
399:. In Fleet, Kate;
396:"Hamdullah Efendi"
240:Topkapi Collection
204:, and innumerable
124:, was a master of
649:Akin-Kivanc, E.,
604:, 1972 p. 108 by
587:Akin-Kivanc, E.,
470:Uğur Derman, M.,
458:, 1972 p. 108 by
429:Uğur Derman, M.,
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148:(in present-day
106:Sheikh Hamdullah
88:, Ottoman Empire
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31:Sheikh Hamdullah
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114:Şeyh Hamdullah
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108:(1436–1520) (
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734:1520 deaths
729:1436 births
600:Huart, C.,
454:Huart, C.,
374:Ottoman art
359:Islamic art
309:Mustafa Âlî
191:Hâfiz Osman
116:), born in
723:Categories
522:Ülker, M.
380:References
200:, book of
150:Uzbekistan
142:Suhrawardi
417:1873-9830
61:Hamdullah
407:(eds.).
348:See also
236:Istanbul
198:Mus'hafs
138:Anatolia
86:Istanbul
47:copy in
232:Üsküdar
157:Bâyezïd
146:Bukhara
110:Turkish
415:
296:Legacy
210:Evrads
206:En'ams
118:Amasya
68:Amasya
45:Qur'an
202:Quran
177:naskh
49:Naskh
413:ISSN
214:Juz'
212:and
79:Died
64:1436
57:Born
234:at
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
