Analysis of Calligrapher Sâmi Efendi's Celi Thuluth Tombstone Inscriptions in Terms of Design Principles

Betül Erikoğlu

Makale detayları

Analysis of Calligrapher Sâmi Efendi's Celi Thuluth Tombstone Inscriptions in Terms of Design Principles

Yazarlar:

Betül Erikoğlu

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Hat

Dergi:

İSTEM Issue 43, pp.245-272

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322007

pISSN:

1304-0618

Anahtar kelimeler:

Özet:

 Calligrapher Sâmi Efendi 1838-1912, who trained many students by writing thuluth, naskh, rika, dîvânî, celî dîvânî, tuğra, talik as well as celî script in the most perfect way, is one of the most important calligraphers of his period. Sâmi Efendi, who took writing to the top by adopting the celî approach of Mustafa Râkım ö. 1826, has many plates and inscriptions that he designed by using letters and signs in the ideal way and adjusting the balance of space and fullness in the best way. There are nineteen tombstone inscriptions of Sami Efendi that have been identified so far, one of which is a script, written in the jali thuluth calligraphy. In this research, five tombstone inscriptions belonging to Sami Efendis early, middle and last periods were evaluated. The stampings of all but two of these tombstone inscriptions written in Celi Thuluth calligraphy were taken and evaluated in terms of point, shape, direction, space, measure, repetition, rhythm, balance, sovereignty, suitability, unity and integrity, which are the subheadings of design elements and principles, and Sami Efendis artistic taste was tried to be understood.

 Calligrapher Sâmi Efendi 1838-1912, who trained many students by writing thuluth, naskh, rika, dîvânî, celî dîvânî, tuğra, talik as well as celî script in the most perfect way, is one of the most important calligraphers of his period. Sâmi Efendi, who took writing to the top by adopting the celî approach of Mustafa Râkım ö. 1826, has many plates and inscriptions that he designed by using letters and signs in the ideal way and adjusting the balance of space and fullness in the best way. There are nineteen tombstone inscriptions of Sami Efendi that have been identified so far, one of which is a script, written in the jali thuluth calligraphy. In this research, five tombstone inscriptions belonging to Sami Efendis early, middle and last periods were evaluated. The stampings of all but two of these tombstone inscriptions written in Celi Thuluth calligraphy were taken and evaluated in terms of point, shape, direction, space, measure, repetition, rhythm, balance, sovereignty, suitability, unity and integrity, which are the subheadings of design elements and principles, and Sami Efendis artistic taste was tried to be understood.

 Calligrapher Sâmi Efendi 1838-1912, who trained many students by writing thuluth, naskh, rika, dîvânî, celî dîvânî, tuğra, talik as well as celî script in the most perfect way, is one of the most important calligraphers of his period. Sâmi Efendi, who took writing to the top by adopting the celî approach of Mustafa Râkım ö. 1826, has many plates and inscriptions that he designed by using letters and signs in the ideal way and adjusting the balance of space and fullness in the best way. There are nineteen tombstone inscriptions of Sami Efendi that have been identified so far, one of which is a script, written in the jali thuluth calligraphy. In this research, five tombstone inscriptions belonging to Sami Efendis early, middle and last periods were evaluated. The stampings of all but two of these tombstone inscriptions written in Celi Thuluth calligraphy were taken and evaluated in terms of point, shape, direction, space, measure, repetition, rhythm, balance, sovereignty, suitability, unity and integrity, which are the subheadings of design elements and principles, and Sami Efendis artistic taste was tried to be understood.

 Sülüs, nesih, rika, dîvânî, celî dîvânî, tuğra, talîk ile birlikte celî yazıyı da en mükemmel şekilde yazarak pek çok talebe yetiştirmiş Hattat Sâmi Efendi 1838-1912, yaşadığı dönemin önemli hat sanatkârlarının başında gelmektedir. Mustafa Râkımın ö. 1826 celî anlayışını benimseyerek yazıyı zirveye taşıyan Sâmi Efendinin harf ve işâretleri ideal şekilde kullandığı, boşluk-doluluk dengesini en güzel şekilde ayarlayarak tasarladığı pek çok levha ve kitâbeleri mevcuttur. Sâmi Efendinin şimdiye kadar tespit edilebilmiş, celî sülüs hattı ile yazdığı, biri yazı kalıbı olmak üzere on dokuz mezar taşı kitâbesi bulunmaktadır. Bu araştırmada, Sâmi Efendinin evâil ilk, evâsıt orta ve evâhir son dönemlerine ait beş mezar taşı kitâbesi değerlendirilmiştir. Celî sülüs hattı ile yazılmış bu mezar taşı kitabelerinin estampajları alınıp tasarım unsur ve ilkelerinin alt başlıkları olan nokta, şekil, yön, espas boşluk, ölçü, tekrar, ritim, denge, egemenlik, uygunluk, birlik ve bütünlük bakımından değerlendirilerek Sâmi Efendinin sanat zevki anlaşılmaya çalışılmıştır.

Makale detayları

Analysis of Calligrapher Sâmi Efendi's Celi Thuluth Tombstone Inscriptions in Terms of Design Principles

Yazarlar:

Betül Erikoğlu

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Hat

Dergi:

İSTEM Issue 43, pp.245-272

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322007

pISSN:

1304-0618

Calligraphy Art

Sami Efendi

Jali Thuluth

İnscription

Design Elements and PrinciplesHat Sanatı

Sami Efendi

Celi Sülüs

Kitabe

Tasarım Öge ve İlkeleri

Sayı

Makale detayları

Yazarlar: Betül Erikoğlu

Yayıncı: Necmettin Erbakan University

Ana Başlıklar: Hat

Dergi: İSTEM Issue 43, pp.245-272

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001322007

pISSN: 1304-0618

Sayı

Yazarlar:

Betül Erikoğlu

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Hat

Dergi:

İSTEM Issue 43, pp.245-272

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322007

pISSN:

1304-0618