Journal of Ottoman Calligraphy

Click here to visit us!

History of the Museum

The building today known as the Horse Mansion on a hill between Emirgan Park and the Bosphorus stands in what was once the grounds of a waterfront mansion. Between 1848 and 1884 the original mansion belonged in turn to Süleyman Re’fet Paşa and his wife Fatımatüzehra Hanım, Musevi Hoca Misak, Mustafa Reşid Paşa’s wife Adile Hanım, Küçük Mehmed Ali Paşa of Egypt, Mustafa Naili Paşa, Maksudzade Simon Bey, Khedive İsmail Paşa, the Egyptian government, and Khedive Mehmed Tevfik Paşa. In 1884 it was purchased by the Ottoman Treasury on the orders of Sultan Abdülhamid II and presented as a gift to King Nicola I of Montenegro. For the next 30 years it was both a royal residence and the Montenegran Embassy. In 1913 the Ottoman government repossessed the mansion and sold it to Behiye Sultan, the granddaughter of Sultan Mehmed V Reşad. In 1925 the now derelict mansion was purchased by Prince Mehmed Ali Hasan, grandson of Khedive İsmail Paşa, and he commissioned the architect Edouard de Nari to build the present house. However, it remained unused for many years until Princess İffet, the elder sister of Prince Mehmed Ali Hasan, made it her home in 1944. In 1949 Hacı Ömer Sabancı began looking for a house in which he and his family could spend the summer months, and in 1951 purchased the mansion from the sons of Prince Mehmed Ali Hasan. After he purchased the bronze statue of a horse at an auction held in Mahmud Muhtar Paşa’s house in Moda, and placed it inside the entrance gate of his mansion in Emirgan, the house became popularly known as Atlı Köşk or Horse Mansion. (more…)

The Turkish National Library is one of the youngest national library in the world. The works of foundation was laid in a small office in the Ministry of National Education,Directorate of Publications on April 15,1946 and a collection of 8000 works were accumulated in a short time. On April 1,1947 the library was temporarily moved to another building and during this period the collection reached 60,000. The building in the above picture was allocated in order to put the collection into service and the TNL was opened to users on August 16,1948. With the enactment of the Establishment Law on March 29,1950, the TNL assumed a legal identity. Foundation of a Bibliographical Institute working under the TNL was ensured the “Supplementary Law to the Establishment Law of the Turkish National Library “dated May 18,1955. Considering that the first building would not meet the future needs, planning of a new building was started in 1965. The construction work began after a long period of planning during 1965-73, and the building was completed in 1982. The TNL started serving its users in the new building on August 5,1983 The Library is built on a space of 39.000 square meters, and is large enough to enable the addition of new modules. The TNL building consisting of three modular blocks, shelters the administrative offices, general and special purpose reading rooms, group study rooms, staff rooms, study rooms for fine arts, and ventilated stores equipped with fire alarm systems. Here are also an exhibition hall and two multi-purpose meeting and concert halls. New activities have been initiated in the new building including Data
Processing Center, Talking Books Department, Atatürk Documentation Center and Biography Archive, Map Room, Microfilm Archive, fully equipped Printing House using off-set printing techniques Microfilm and Photography Laboratory.

Collected catalogue of Printed Works of Turkey, Arabic Lettered Turkish Works (1729-1928)

Up till now five volumes have been published by the presidency of National library and preparations continue for volume VI.

Türkiye Basmaları Toplu Kataloğu Arap Harfli Türkçe Eserler (Collected catalogue of Printed Works of Turkey Arabic lettered Turkish Works) 1729-1928 Vol. I, Part I (A-Ali el Karî ) Ankara 1990

Türkiye Basmaları Toplu Kataloğu Arap Harfli Türkçe Eserler (Collected catalogue of Printed Works of Turkey Arabic Lettered Turkish Works) 1729-1928 Vol. I, Part 2 (Ali Kâzım Aznavur) Ankara 1990

Catalogue of Manuscripts of National Library

Publishing has started in 1987 under the name of Milli Kütüphane Yazmalar Kataloğu (Catalogue of Manuscripts in National Library). Initial corrections of volume VI named Milli Kütüphane Divanlar Kataloğu (Catalogue of the manuscripts of collected Poems in National Library) has been completed and preparations are going on.

Volume I: (General topics, Metaphysics, Secret Sciences) Ankara 1987

Volume II: (Secret Sciences, Psychology, Logic, Philosophy) Ankara 1988

Volume III: (The Religion of Islam, Sciences related with Koran, Commentary (for Koran)) Ankara 1992

Volume IV: (The sayings of Prophet Muhammad) Ankara 1994

Volume V: ( Religious precepts and study of Koran,Akaid ve Kelam) Ankara 1997

Collected Catalogue of Manuscripts of Turkey

National Library is responsible for specifying the bibliographical identities and publishing catalogues; of the manuscripts existing in libraries and museums connected to Ministry of Culture firstly and later on, those existing in the libraries of some state institutions and some persons.

The following activities have been completed within the scope of the project being implemented since 1978:

1- TÜYATOK 1- The first catalogue covers the manuscripts in the libraries of; Atatürks Mausoleum (16 works, Presidency of the Republic (34 works),Turkish Grand National Assembly of Turkey (104 works) and Public Library of Adıyaman Province (132 works). In
this volume there are bibliographical introduction of totally 286 manuscripts /pamphlets. (Ankara 1979).

2- TÜYATOK 2: The Second catalogue includes the manuscripts belonging to the Public Libraries of Giresun, Ordu and Rize provinces. In this volume there is bibliographical introduction of totally 619 manuscripts/pamphlets.

3- TÜYATOK 3 (34/I): In this catalogue that covers the books belonging to Istanbul Süleymaniye Library - Ali Nihat Tarlan Kolleksiyonu (Collection of Ali Nihat Tarlan) there are bibliographical introduction of 425 manuscripts in total (Ankara 1981).

4- TÜYATOK 4-8 (07/l-V) : This catalogue consists of volumes 4, 5, 6, 7, 8 and five separate fascicles and covers manuscripts from the districts and province of Antalya (namely Antalya Province Museum, Alanya District Museum, Akseki Yeğen Mehmet Paşa Library Elmalı and Tekeli District Public Libraries. Totally 4.042 manuscripts / pamphlets are introduced in this catalogue (Istanbul 1982 -1984).

5- TÜYATOK 9 (34/II): İn this catalogue covering the collection Merzifonlu Kara Mustafa Paşa Kolleksiyonu in Istanbul Bayezid State Library totally 467 manuscripts are introduced. (Ankara 1984).

6- TÜYATOK 10-12 (01/I-III): In this catalogue, consisting of 3 values, totally 2592 manuscripts belonging to Public Library and Museum of Adana Province are introduced. (Ankara 1985 - 1986)

7- TÜYATOK 13 (34/III): İn this catalogue (volume 13) that covers the manuscripts in the collection, Amca Zade Hüzeyin Paşa ve Hekimbaşı Musa Nazif Efendi Kolleksiyonu in İstanbul Süleymaniye Library totally 630 manuscripts are introduced (Ankara 1987).

8- TÜYATOK 14-18 (05/I-V): It was foreseen to publish this catalogue in five volumes, in the published first four volumes (14-05/I, 15-05/II, 16-05/III and 17-05/IV) namely, Amasya İl Halk Kütüphanesi Yazmaları Kataloğu(Catalogue of Manuscripts in the Public Library of Amasya Province), totally 2994 works / pamphlets are introduced. (Istanbul 1990 -1995). By the last fifth volume (TÜYATOK 18-05 / V) which is being published at the printing house of Faculty of Literature Istanbul University 1190 more books / pamphlets will be introduced.

9- TÜYATOK 19 (34/IV): This catalogue, in which 1155 works / pamphlets are introduced, covers the manuscripts in the collection Mustafa Aşir Efendi Koleksiyonu in İstanbul Süleymaniye Library (Ankara -Printing house of National Library, 1994).

10- TÜYATOK 20 (03): In this volume published under the name of Afyon ili Yazmaları (Manuscripts of Afyon Province) totally 1952 works / pamphlets, (1938 works from Afyon Gedik Ahmet Paşa Public Library 12 works from Afyon Province Museum, 2 works from Dinar District Public Library) are introduced under 1185 principal titles (with catalogue serial numbers) (Ankara, Printing house of National Library 1996).

11- TÜYATOK 21 (10): In this catalogue, published under the name of Balıkesir İli Yazmaları Kataloğu (catalogue of the Manuscripts of Balıkesir Province) totally 2715 works / pamphlets i.e 2439 works in Balıkesir Province Public Library, 185 works in Dursun Bey District Public Library, 91 works in Edremit. District Public Library, are in traduced under 1246 principal titles. (With catalogue serious numbers) (Ankara, Printing-house of National Library, 1997).

12- TÜYATOK 22 (18) : In this catalogue published under the name of “Çankırı İl Halk Kütüphanesi Yazmaları kataloğu” (Catalogue of the Manuscripts in Çankırı Province Public Library), totally 1076 works / pamphlets are introduced under 683 principal titles. (Ankara, Printing-house of National Library, 1998).

13- TÜYATOK 23 (32) (Ankara, Printing House of National Library, 2000).

14- TÜYATOK 24 (15) (Ankara, Printing House of National Library, 2000).

Valuable manuscripts, previously in the province and district Libraries of Isparta and Burdur and later handed over to Konya Bölge Yazmaları Kütüphanesi (Library of Regional Manuscripts in Konya) in 1994 are catalogued within the scope of TÜYATOK and published under the names of Türkiye Yazmaları Toplu Kataloğu Burdur I, II and Türkiye Yazmaları Toplu Kataloğu Isparta (Collected catalogue of Manuscrupts of Turkey, Burdur I, II and Collected catalogue of Manuscripts of Turkey, Isparta). These catalogues were published within the scope of activities related with Osmanlı Bilim ve Kültür Mirasının 700. Yıldönümü Anma Etkinlikleri i.e Activities for Commemoration of the 700th Anniversary of Ottoman Empire´s Cultural Inheritance). The content of the catalogues covers the following works.

1687 volumes of manuscripts and 3100 books / pamphlets in Burdur Province Public Library,
795 volumes of manuscripts and 1263 books / pamphlets in Isparta Halil Hamit Paşa Public Library,
474 volumes of manuscripts and 1080 books / pamphlets in Uluborlu District Alaaddin Keykubat Public Library.
247 volumes of manuscripts and 516 books / pamphlets in Yalvaç District Ali Rıza Efendi Public Library,
109 volumes of manuscripts and 260 books / pamphlets in Şarkikaraağaç District Public Library,
3 volumes of manuscripts and 11 books / pamphlets in Senirkent District Public Library.
1 volume of manuscript and one book / pamphlet in Aydoğmuş District Public Library.

All these catalogues cover totally 3316 volumes of manuscripts, 6231 books / pamphlets and 3594 principal titles.

Contact

Milli Kütüphane Baskanligi
Bahcelievler son durak 06490
Ankara/Turkey
Tel : + 90 312 222 41 48 / + 90 312 222 38 12
PBX : + 90 312 212 62 00
Fax : + 90 312 223 04 51

Source: Turkish National Library

Mustafa Izzet was born in Tosya in 1216 H. After his father’s death he was sent to Istanbul. Happening to cath the attention of Sultan Mahmud II he was taken into the Saray, where he was trained and educated. He learned Thuluth and Naskhi from the calligrapher Mustafa Vasif Efendi and Ta’Iiq from Yesarizade Mustafa Izzet Effendi. He received an icazet from both his teachers. He had a very fine voice and also practiced music. He was appointed to the Saray imamlik during the reign of Sultan Abdülmecid.
He produced eleven copies of the Qur’an, a number of Delails and En’ams, some two hundred Hilyes and a number of panels in a very fine Naskhi in the style of Hafiz Osman. He was responsible for the large round panels in the Ayasofya Museum.
He had a large number of pupils, and trained some very fine calligraphers including Sefik Bey, Muhsinzade Abdullah, Vahdeti, Abdullah Zühdü, Kayiszade Osman, Arif of Carsamba, Mehmed Hilmi and Ilmi Effendi. He died in 1293 H. and was buried in the graveyard of the Kadiri Dergahi (dervish convent) in Tophane.

As his name indicates he was born in Kütahya. He learned the art of calligraphy from Mustafazade Süleyman Effendi, a pupil of Ibrahim of Rhodes. He died in 1202 H.

Hacizade Mustafa was born in Cengelkoy, but the dates of his birth and death are uncertain. In the “Hattatlar Seceresi” written by the calligrapher and court tutor Mehmet Vasfi Effendi he is mentioned as having received his icazet from Mustafazade Süleyman Effendi.

He was born in Istanbul, and was the grandfather of the Suyolcuzade Mehmed Necib who wrote a work entitled “Devha-tül Kuttab” on the subject of Turkish calligraphers.
He learned the art of calligraphy and received his icazet from Dervish Ali “Birinci”, a pupil of Halid Erzrumi. He himself taught Hafiz Osman, one of his very numerous pupils. He flourished during the reign of Sultan Mehmed IV.
He wrote some fifty copies of the Qur’an, a large number of En’ams, prayer books and Murak’kas. He died in 1097 H. (1685) and was buried in the Eyup cemetery.

Mehmed Said was a native of Istanbul and resided in the Mahmutpasa district. He learned the art of calligraphy and received his icazet from Sekerzade Mehmed Effendi. He was a very prolific calligrapher. He died in 1192 H. (1774)

Mehmed Giridi was born in Crete and came to Istanbul to study the art of calligraphy He learned calligraphy and received his icazet from Hafiz Osman Effendi, and later engaged in discussions with the calligrapher small bin All of Agakapi on the subject of calligraphy. He died in 1165 H.

Mehmed Sekerzade was born in Manisa, but the date of his birth is uncertain. He came to Istanbul and took lessons in Thuluth and Naskhi first from Abdullah Kirimi and later from Seyid Abdullah of Yedikule, from whom he received his icazet. An illuminated Quran written in the style of Sheikh Hamdullah was published by the Ministry of Education in 1312 H. (1888).

Mehmed Izzet Effendi was born in Istanbul in 1257 H. We do not know from whom he received his icazet, but he is known to have written a very beautiful Thuluth and Naskhi and to have written the Rik’a script in a very pleasing style peculiar to himself. He taught writing in various schools including Galatasaray Lycee. Two of his books of calligraphy models for students have been published. The inscription on the dome of the German Fountain in Sultanahmet bears his signature. He died in 1320 and was buried in the Yahya Effendi cemetery in Besiktas.

Mehmed was born in Besiktas in Istanbul. The cognomen “imamzade” indicates that his father was an imam. The works that have survived display great delicacy and finesse in the use of Naskhi script. He died in 1165 H.

Mehmed was the grandson of Mustafa Dede, the son of Sheikh Hamdullah. He learned the art of calligraphy from his father, from whom he also received his icazet. In Thuluth and Naskhi he imitated the style and character of the script used by his grandfather. He died ca. 1001 H. and was buried near the grave of his grandfather in the cemetery of Karacaahmet.

His date of birth is uncertain but he is known to have been born in Daghistan and to have arrived in Istanbul with his father Sheikh Murad Effendi at a very early age. Although his interest in calligraphy led him to apply to several calligraphers for lessons he was of such a difficult disposition that no one would accept him as a pupil and he was obliged to teach himself the art of calligraphy by examining calligraphic models and karalamas by the great masters. In Nashki he followed Hafiz Osman while in Thuluth and Jeli he created an individual style of his own.
His wife Esma Ibret Hanim was also a calligrapher of great merit. He died in 1245 H. and was buried in the cemetery of the Sheikh Murad Tekke (dervish lodge) at Eyup.

Mahmud II was taught the art of calligraphy first by Gebecizade Mehmet Vasfi Efendi and later by Ustad Mustafa Rakim. He was particularly interested in Naskhi, Thuluth and Jell Thuluth. Several very fine panels written by Mahmud II in Jeli Thuluth are to be see in a number of Istanbul mosques and museums. He died in 1255 H.

Kamil Effendi was born in Istanbul in 1278 H. He learned Thuluth and Naskhi from the great calligrapher Sami Effendi, from whom he also received his icazet. He later learned from the same teacher the art of the tughra and Divani script. He held the post of teacher of writing in the Divan-i Hümayun Kalemi (Secretariat of the Imperial Chancery). In 1914 he was appointed teacher of Thuluth and Naskhi in the Medrese-tul Hattatin, in 1918 teacher of writing in Galatasaray Lycee and in 1936 teacher of calligraphy in the Academy of Fine Arts.
He was twice invited to Egypt, where he left a considerable number of very fine works. He died in 1360 H. and was buried in the cemetery at Eyup.

Hulusi Effendi was born in Istanbul in 1286 H. He learned Ta’liq from Haci Arif Bey of Carsamba and Sami Effendi, and Thuluth and Naskhi from Muhsinzade Abdullah Bey. He was teacher of writing in Darüssafaka Lycee and the Medresetül Hattatin.
Hulusi Effendi was one of the greatest Turkish masters of Ta’Iiq and Ta’liq Jeli. He spent his whole life, however, in financial distress and poverty. He died in 1358 H. The recent calligraphers Halim Ozyazici and Kemal Batanay were two of his most distinguished pupils.

Halil Mir Tevkii was the son of one All Pasha. The dates of his birth and death are uncertain, but he is known to have lived during the reign of Sultan Mahmud I, to have learned calligraphy from Hüseyin Habli and to have been appointed to a position in the Saray.

The great master of calligraphy Sheikh Hamdullah was born in Amasya in 840 H. He founded his own individual school of calligraphy and was generally known as “Kible-tül Kuttab” (paragon) of Turkish calligraphers
In the section dealing with the history of calligraphy we have already mentioned how he came to Istanbul and was appointed teacher of calligraphy in the Palace’s school by Sultan Bayezid II. Here we shall confine ourselves to a brief account of the great changes he brought about in the art of calligraphy.
Sheikh Hamdullah developed the Thuluth and Naskhi scripts, which have survived with very little change to the present day, from the Muhakkak and Tevki scripts, which up to that time had been written in the style of Yakut. He devoted his whole life to the art of calligraphy, producing forty-seven Qur’ans and innumerable En’ams, Evrads and Cuz. Topkapi Saray Museum contains two exquisite copies of the Qur’an.
This great master of calligraphy died in 926 H. and was buried in the cemetery of Karacaahmet.

He was known as Haci Arif of Carsamba because he lived in that district of Istanbul. He learned Thuluth and Naskhi from Hasim Effendi, an apprentice of Mustafa Rakim, and Ta’liq from Kibrisizade Hakki and Melek Pasazade Ali Haydar Bey. Arif Bey displayed great skill in istifs and musennas in Jeli Thuluth. These exquisite works aroused great admiration and appreciation. Ant Bey was also a master of the tughra. He died in 1310 H. and was buried in the Yavedud cemetery near Eyup.

Ali Effendi learned Thuluth and Jeli from Kazasker Mustafa Izzet’s favorite pupil Sefik Bey. He produced some very fine compositions and was one of the most highly regarded masters of the time, gaining very considerable renown.

Ismail bin Ali was a native of Istanbul. He received his icazet in Thuluth and Naskhi from Hoca Mehmet Rasim Efendi of Egrikapi. He was also interested in Ta’Iiq script and took lessons from Katipzade Mehmet Refi Efendi. He died in 1164 H. and was buried in the cemetery at Eyup.

We know neither the date of his birth nor the date of his death, but in view of the fact that his teacher ibrahim Hanif, from whom he learned both Thuluth and Naskhi, died in 1189 H, (1771), he can be assumed to have lived in the twelfth century of the Hegira (eighteenth century A.D.).

Abdullah of Yedikule was the favourite pupil of the celebrated calligrapher Hafiz Osman Efendi, and we know from the register of calligraphers that he received his icazet in 1102 H. He achieved great beauty and perfection in his use of Thuluth and Naskhi and was awarded both praise and protection by Sultan Ahmed Ill. He produced twenty-four Qur’ans as well as a number of Enams, Evrads, Kit’as, Murak’kas and Hilye-i Serifs. He had a large number of pupils. Most of his works are preserved in the Nuruosmaniye Library. Abdullah Effendi was greatly loved and admired by his teacher. He used the name Seyyid to indicate that he was descended from the family of the Prophet. He bid farewell to this transitory world in 1144 H.

Abdülmecid learned the art of calligraphy and received his icazet from Mehmet Tahir Efendi, a faithful disciple and devoted pupil of Mahmud Celaleddin, the founder of his own individual school of calligraphy. Panels written by Abdülmecid in Thuluth and Jeli in the style of Celaleddin are to be found in several Istanbul mosques and museums, particularly in the mosques of Dolmabahce and Ortakoy. He died in 1861 at the age of thirty-eight.

Abdullfettah was born on the island of Chios in 1230 H. He was brought to Istanbul at a very early age and educated under the patronage of Husrev Pasha. He learned Thuluth, Jeli and Naskhi from a calligrapher of the name of Mustafa Sakir Effendi and received his icazet in 1847. He was employed first in the Secretariat of the Grand Vizier and subsequently in various government posts in Anatolia. In 1857 he was appointed designer of coins in the Imperial Mint, and was sent to Vienna and Paris for further professional training. He died in Vanikoy in 1314 H. and was buried in the garden belonging to the tomb of Sultan Mahmud.

Ismail Zühdi was a native of Unye and the elder brother of the calligrapher Mustafa Rakim. He learned Thuluth and Naskhi from Ahmet Hifzi Effendi of Fethiye, from whom he received his icazet. He was appointee Court tutor in calligraphy and trained a large number of pupis, the most distinguished of these being his own brother Mustafa Rakim.
He died in 1221 H. and was buried in the cemetery at Eyup.

Ahmed Ziya was born in Istanbul in 1286 H. He studied in Kuleli Military School and in the Military Academy from which he graduated as an officer. He learned Thuluth and Naskhi from Hulusi Effendi, a pupil of Sevki, and Jeli Thuluth from Sami Effendi. He was also a graduate of the Sanayi-i Nefise (Academy of Fine Arts), which he entered in 1309 H. He was a good painter. He also studied ilmi nucum (astronomy). He was appointed muvakkit (time-Keeper) in the Muvakkithane of Eyup Mosque. He ater taught mathematics, cosmography and mechanics in the Halicioglu Military Lycee.
This distinguished calligrapher, painter and scholar died in 1357 H. and was buried in the cemetery at Silivrikapi.

Hafiz Yusuf was born in Anatolia but migrated to Istanbul. He was keenly interested in calligraphy and received his icazet from Ibrahim Rodosi. He learned the niceties of the art of calligraphy from Hoca Mehmet Rasim Effendi of Egrikapi, and was appointed teacher in Galatasaray Lycee.
He died in 1201 H.

Yusuf was a native of Istanbul. He was born in the district of Tophane but his date of birth is uncertain. He was the slave of Demirci Agha, who cast the metal for the cannons in the foundry belonging to the Corps of Janissaries, and was thus generally known as ‘Demirci KuIu’ (save of the iron-worker).
He learned the art of calligraphy from Dervish Mehmed Celebi, a pupil of Ahmet Karahisari, and from Abdullah Kirimi. He was responsible for the Jeli inscriptions in the mosque built by the famous Turkish seaman and Admiral Kilic All Pasha at Tophane. The date of his death is given in the Tuhfe-i Hattatin as 1020 H., and in the Hattatlar silsilesi by Gebecizade Mehmed Vasfi Effendi as 1018 H. He is buried in the cemetery belonging to the Karabas tekke (dervish lodge) at Tophane.

Mehmed Esad Yesari was a native of Istanbul. He was born paralysed down the right hand side of his body, which gave rise to the nickname “Yesari” (left-handed). He learned the art of calligraphy from the master of Ta’Iiq script Mehmed Dedezade and very quickly gained his icazet. (1167 H.).
He trained a considerable number of pupils and his writings and inscriptions are to be seen on many mosques, tombs, fountains, imarets, etc. in Istanbul. His son Musfafa Izzet Effendi was, like his father, a master of Ta’liq script.
He died in 1213 H. and was buried in the vicinity of the Fatih Mosque.

Yahya Fahreddin was born in Istanbul and was generally known as Sari Yahya (Yahya the Fair) of Tophane. He was the son of one Osman Effendi. His date of birth is uncertain, but he is known to have learned the art of calligraphy from Anbarizade Dervis Ali and to have continued his studies after the death of his teacher with Hüseyin Habli Effendi, from whom he received his wet in 1138 H.
He wrote fifteen copies of the Qur’an and was responsible for the inscriptions over the doors of the Nuruosmaniye Mosque. He died in 1169 H. and was buried opposite the Sheikh Murad tekke in Eyup.

Yahya Hilmi was born in Istanbul in 1249 H. He learned the art of calligraphy from Hasim Effendi, a pupil of Rakim, and Halil Zühdi Effendi. His Thuluth, and more particularly his Naskhi, were remarkable for their perfection of style and attractive appearance. The Museum of Turkish and Islamic Arts contains a very large-scale Qur’an. He was a very rapid writer.
This great calligrapher died in 1325 H. and was buried in the graveyard of Süleymaniye Mosque.

Mehmed Vasfi was a teacher in the Palace’s school and widely known by the cognomen Gebecizade”. The date of his birth is uncertain, but he is known to have learned the art of calligraphy from Ebubekir Rasid Effendi and to have received his icazet in 1181 H. He was a teacher of calligraphy to Mahmud II.
He was a very prolific calligrapher and wrote twenty copies of the Qur’an, a large number of Delails and En’ams, over two hundred Hilyes and a large number of Murak’kas and Kit’as. He had a great many pupils, including a number of outstanding calligraphers such as Ata Effendi, Mustafa Effendi, Vasif Effendi and Eyyubi Mehmed Rasid Effendi.
He died in 1231 H. and was buried in the graveyard of the Mercan Mosque.

Tahsin Hilmi was born at Tophane in Istanbul in 1263 H. He learned Thuluth and Naskhi from Sefik Bey and Ta’Iiq from Sami Effendi. He held the post of teacher of penmanship in various school in Istanbul, including the Kiz Muallim Mektebi (Teacher Training School for Girls), and the Darüssafaka and Galatasaray Lycees.
He died in 1330 H. and was buried in the cemetery at Eyup.

Mehmed Sevki Effendi was born in Kastamonu in 1245 H. He was brought to Istanbul at a very early age and learned Thuluth and Naskhi from his uncle Hulusi Effendi. He received his icazet at the age of fourteen. In spite of his teachers insistence he refused to continue his studies with any other teacher and confined his further studies to an examination of the calligraphic models prepared by Kazasker Mustafa Izzet Effendi. He taught Hüsnü Hat (penmanship) in the Ministry of War and in a number of schools. In Naskhi script he adopted the style of Hafiz Osman and small Zühdü while in Thuluth and Jeli he followed Mustafa Rakim. He left a number of very fine pieces, most of them istifs. He was one of finest exponents of the Hatti icaze.
He died in 1304 H. and was buried in the Merkez Effendi cemetery.

Sefik Bey was born in Besiktas in Istanbul in 1235 H. He began to study calligraphy with Ali Vasfi Effendi and, after the death of his father, continued his studies with the greatest calligrapher of the time, Kazasker Mustafa Izzet Effendi. He was later appointed teacher of calligraphy to the officiais in the Saray. Sultan Abdulmecid sent him, together with the calligrapher Abdulfettah Effendi, to Bursa to repair the inscriptions in the UIu Djami, which had been severely damaged in the earthquake of 1855. During the three years he spent on these repairs he also wrote a numoer of very fine inscriptions in other mosques.
Sefik Bey was a very fine calligrapher who composed some very beautiful pieces in Thuluth, Jeli, Naskhi and Divani scripts. The ayets on each side of the “Daire-i Umuru Askeriyye” above the main entrance of the central building of the University in Beyazid and the inscriptions in the UIu Djami in Bursa are to be reckoned amongst his finest works.
He died in 1297 H. and was buried in the Yahya Effendi cemetery in Besiktas.

Sami Effendi was born in Istanbul in 1253 H. He was the son of Mahmud Effendi the Yorgancilar Kethüdasi (Head of the Quilt-Makers). He learned Ta’Iiq from Kibrisizade Ismail Hakki Effendi and All Haydar Bey, and Thuluth from Bosnak Osman Effendi; In Jeli script he was a close follower of Mustafa Rakim, whom he rivaled in excellence.
A number of fine very inscriptions and istifs by this calligrapher can be seen on various mosques, fountains, etc. in Istanbul. He trained some very fine calligraphers, including Necmeddin Effendi and Kamil (Akdik) Effendi. He died in 1330 H. and was buried in the cemetery belonging to the Fatih Mosque.

Recai Effendi was born at Sütlüce in Istanbul in 1218 H. He learned Thuluth and Naskhi from Mehmed Effendi of Filibe and was awarded his icazet at the age of thirteen. Recai Effendi was the father of the poet and writer Recaizade Ekrem Bey and the grandfather of the writer Ercümend Ekrem Talu. Recai Effendi held a number of government posts. He died in 1291 H. and was buried in the cemetery at Eyup.

Hasan Riza was born in Usküdar in 1265 H. He earned the art of calligraphy from Yahya Hilmi Effendi, one of the secretaries in the Ministry of War, and later from Sefik Bey, from whom he received his icazet. He was one of the most prolific of Turkish calligraphers. He produced nineteen copies of the Qur’an as well as a large number of Hilyes, Kit’as and Murak’kas. He held the post of Imperial main and teacher of calligraphy. He also worked as a teacher of Thuluth and Naskhi in the Medrese-tul Hattatin. He died in 1338 H. and was buried in the cemetery at Rumeli Hisar. His Naskhi script was particularly beautiful.

Mustafa Rakim occupies a most important place in the history of Turkish calligraphy. He was born in Unye in 1171 H. His elder brother was the famous calligrapher small Zühdü, who brought Mustafa to Istanbul while still a small child. Rakim learned the art of calligraphy from Ahmet Hifzi Effendi of Fethiye and his brother small Zühdü, and received his icazet at the age of twelve. He was also a painter. He was appointed teacher of calligraphy in the Saray school, one of his pupils there being Sultan Mahmud II, who accorded him very great praise and appreciation.
He had a very distinctive style in Jeli Thuluth, remarkable for its softness, elegance and movement. His works are greatly admired by calligraphers and connoisseurs of the art. His compositions include the frieze inscription in the Nusretiye Mosque at Tophane and the inscriptions on the tomb and fountain of Mahmud Ii’s mother Naksidil Sultan. The Museum of Turkish and Islamic Arts contains a very fine Hilye.
Mustafa Rakim was responsible for the definitive form acquired by the tughra, or Imperial monogram. The form of the tughra he composed for Mahmud II was adopted by all succeeding Sultans, changes being made only in the actual name from which the tughra was composed. The tughras to be seen on late Ottoman coins and on the fermans of the later Sultans were all in the form composed by Rakim. He was also responsible for a number of Ta’Iiq inscriptions on fountains and tombstones.
He died in 1241 H. and was buried near the Atik All Mosque in Karagümrük. His wife had a tomb built over his grave and a medrese constructed beside it.

Osman Effendi was born in Istanbul. He studied calligraphy under the master calligrapher Dervish All and later under Suyolcuzade Eyyubi Mustafa Effendi, from whom he received his icazet. Hafiz Osman was a brilliant calligrapher who succeeded in investing the script originally employed by Sheikh Hamdullah with a new elegance, and thus became known as “Seyh-i Sani”, the second Sheikh. He had a large number of pupils, one of the most outstanding being the calligrapher Ismail bin All Agakapi. He died in 1110 H. and was buried in the graveyard belonging to the Sünbül Effendi Dergah (dervish convent) in Kocamustafa.

Necmeddin Okyay was born in 1300 H. in Usküdar. He received his icazet in Divani script from Talat Bey, teacher of writing in the Ravzai Terakki School in Usküdar, and his icazet in Thuluth and Naskhi from Bakkal Arif Effendi. He also took lessons in Ta’liq and Jeli from the great calligrapher Sami Effendi. He was appointed imam in the Yeni Mosque in Usküdar, and remained in this post for many years. Necmeddin Effendi introduced a number of improvements in the writing of Ta’Iiq and Jeli Ta’Iiq, of which he was one of the finest masters. He also displayed great skill in Ebru (marbling) and in the binding and repair of old Turkish books. He was the inventor of an original type of Ebru containing floral motifs and writing. He held teaching posts in the Medresetül Hattatin (school of Calligraphy), the Sark Tezyini Sanatlar Mektebi (School of Oriental Decorative Arts) and the Academy of Fine Arts.
He died in 1396 H. (1976) at the age in ninety-three and was buried in the cemetery of Karacaahmet.

Mehmed Nazif Bey was a native of Ruscuk, and was born in 1262 H. He entered the Saray school at an early age, and there he learned the art of calligraphy from Vahdeti Effendi of Burdur, a pupil of Abdullah Zühdü. He later studied Ta’Iiq under Sami Effendi, from whom he received his icazet.
After leaving the Saray school he spent many years as calligrapher in the Cartography Department of the Erkan-i Harbiye-i Umumiye (Army General Staff).He had a very fine command of Thuluth, Jeli and Naskhi, and displayed great skill in the use of Ta’Iiq.
Nazif Bey died in 1331 H. and was buried in the graveyard belonging to the Yahya Effendi Dergah (dervish convent) in Besiktas.

Mustafa Vasif was a native of Kastamonu. He came to Istanbul at an early age and began to study Thuluth and Naskhi under the calligrapher Gebecizade Mehmed Effendi. His teacher gave him the nickname “Comez” (theology student who served his master in return for board and tuition) by which he was commonly known. Kazasker Mustafa Izzet Effendi was one of the most outstanding of his pupils. He died in 1269 H. and was buried in Eyup.

Mustafa Izzet was the son of the great master of calligraphy Esad Yesari. His date of birth is uncertain. He learned the art of calligraphy from his father, from whom he also received his icazet. He wrote a very beautiful Ta’Iiq script. Very fine inscriptions by Mustafa Izzet are to be seen on a large number of mosques, tombs, fountains and other public buildings in Istanbul. The great calligrapher All Haydar Bey was one of his pupils.
He died in 1266 H. and was buried in the cemetery at Gelenbevi.

Designated as a National Resource Center of Excellence, the Center for Near Eastern Studies supports the enrichment of the UCLA Library’s sizeable material collection which is available to students and scholars, researchers and professionals, precollegiate teachers and the public.

The Library’s Middle East and Islamic studies research collection is the largest in the western United States, with over 500,000 volumes including publications from the Middle East and from diaspora communities in the West. Middle East Bibliographer David Hirsch maintains a web portal and numerous specialized databases to assist researchers. The Department of Special Collections houses over 10,000 manuscripts in Arabic, Armenian, Hebrew, Ottoman Turkish and Persian. Other specialized collections are housed in the Art, Biomedical, Music and Law Libraries.

The Gustav E. von Grunebaum Center for Near Eastern Studies at UCLA encourages, coordinates and integrates instruction and research in the humanities and the social sciences, business, law, medicine and the media, and in all languages essential to an understanding of the Near East. The Center pioneered study and research on the large and diverse Middle Eastern American communities in the United States. As one of the largest National Resource Centers in the US, CNES fosters public education programs and research projects of interest to the academic and professional communities and to the broader public in metropolitan Los Angeles and throughout Southern California.

The Center serves as a conduit for contacts among scholars of the Middle East and the Islamic world through its resident scholar program. Visitors appointed as Center Fellows can make use of UCLA’s extensive research facilities, including a rare manuscript collection and library holdings that are the second largest in North America. The Near East Center is an intellectual home for scholars from various academic institutions in California and for independent scholars who contribute to the regular program of colloquia, workshops, lectures, conferences and a variety of outreach activities sponsored year-round by the Center.

Center for Near Eastern Studies
10286 Bunche Hall
Los Angeles, CA 90095-1480
Campus mailcode: 148003
Tel: 310-825-1181
Fax: 310-206-2406
cnes@international.ucla.edu

Source:http://www.isop.ucla.edu/cnes/

Rare Book Review is the world’s leading magazine for all those who love, collect and/or deal in rare and valuable books.

Launched in 1974, the magazine was originally called Antiquarian Book Monthly Review, but its title was recently changed to Rare Book Review to reflect the fact that it covers printed items of all kinds, with the proviso that they should be rare and sought-after.

Our coverage is twofold. The first half of the magazine comprises features on every aspect of book dealing and collecting — including interviews with distinguished collectors, surveys of important collections, both public and private, and profiles of important authors, illustrators and publishers — and regular columns by leading dealers from both Britain and America.

The rear of the magazine, ‘Essential Listings’, is devoted to vital information about the book trade, including details of all the major auctions, fairs and catalogues, as well as previews and reviews of the most important sales.

Each month our ‘Essential Knowledge’ section offers a wide-ranging and informative introduction to a particular area of book collecting. Other features include book reviews, ‘New & Views’, ‘Spotlight’ profiles of major figures in the bookselling world, and a directory of important book-related websites.

The magazine is illustrated throughout in full colour and is produced to the highest standards. Ten issues are published a year.

Rare Book Review is truly international in scope, and we plan to increase our coverage of the book collecting scene in Europe, Asia and the United States. Other developments include the publication of special issues, which are largely – though never entirely – devoted to a single subject, be it a particular author, country or collecting area.

Source:Rare Book Review

Named after the great Abbasid dynasty library established in 832 and destroyed in the last invasion of Baghdad by the Mongols in 1258, the House of Wisdom had been installed in 1995 in one of the few surviving 13th century Abbasid structures in Baghdad. This building was the site of the first Iraqi parliament. The institution had a small collection of 100 manuscripts but these included a 9th century Koran and an Ibn Sina text of philosophy. The institution possessed a 5,500-volume set of documents from the British foreign office, US congressional documents concerning the 1940 coup in Iraq, a number of documents concerning the Jewish community in Baghdad, as well as Ottoman property registrations and court documents. Although these collections were all copies, the originals were held in the National Library and may have burnt.

On April 11, the facilities were looted. An Ottoman costume exhibit was looted in addition to furniture and moveable parts of the building. The looters retuned the next day, stealing the library’s most valuable manuscripts and books. The facility was then torched. Witness have reported that the arsonists \”were instigated,\” according to Al-Tikriti’s report, which does not indicate by whom. Books from the collection have been seen for sale on the streets of Baghdad.

Source: http://oi.uchicago.edu/OI/IRAQ/mela/melairaq.html

The semi-private al-Awqaf Library, founded in 1920, is the oldest heritage institution in Iraq. It is situated near the Ministry of Health in Baghdad. It contained 45,000 rare printed books of which 6,000 were in the Ottoman script as well as a number of special collections. The staff was able to put 5,250 of 7, 000 in safekeeping, including a collection of Korans.

Spurr’s report does not contain a comprehensive description of the horrible fate of this institution, but the Middle East Library Association has published on its web site an earlier report by University of Chicago graduate student Nabil Al-Tikriti in June 2003 and another report written a year later by the Iraqi archivist Zain Al-Naqshbandi.

On April 13 or 14, 2003, arsonists completely destroyed the library. All of the 45,000 books, including Ottoman manuscripts and a collection of rare medical texts, were burnt, and much of the library’s equipment such as Xerox machines, air conditioners, and bookbinding materials appears to have been looted previously (looting of equipment was the rule for other libraries as well). The 5,250 manuscripts remain undamaged.

The US military bears responsibility for the destruction of another 1,744 manuscripts. These had been removed before the fire and placed under armed guard at the Qadiriyya Mosque complex. Operating under a policy to shoot armed Iraqis on sight, US forces killed the guard on April 13. The al-Awqaf staff returned these manuscripts to the library, now unguarded because of the American \”rules of engagement.\” These manuscripts were either looted or incinerated.

The arson itself bears a particularly suspicious and notorious character in Iraq. According to Al-Tikriti’s report and press accounts at the time, approximately 15 Arab males using an incendiary substance systematically burned the library. Two other men from this group videotaped the arson.

Many Iraqis believe, as the American press has also reported, that the arsonists, b