Rayhan Calligraphy in Ibn al-Bawwāb and Yāqūt al-Mustaʿsimī in the Context of Surah An-Naba

Asiye Altan; Abdulkadir Dündar

Makale detayları

Rayhan Calligraphy in Ibn al-Bawwāb and Yāqūt al-Mustaʿsimī in the Context of Surah An-Naba

Yazarlar:

Asiye Altan | Abdulkadir Dündar

Yayıncı:

Yozgat Bozok University

Ana Başlıklar:

Türk İslam Sanatında Hat

Dergi:

Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.24 Issue 24, pp.15-51

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001308547

pISSN:

2458-9934

Anahtar kelimeler:

Özet:

 The reign of Abbasids is a period of important developments in the history of calligraphy. Ibn Muqla, Ibn al-Bawwāb and Yāqūt al-Mustaʿsımī, who grew up in Baghdad, which was the culture and art centre of the period, are the figures who occupy an important place in the evolution of Arabic script and in the process of becoming an artistic writing. Undoubtedly, the desire to write the Qurān in a form befitting it has been an encouragement for the calligraphy artists in the evolution of the script. Therefore, the course of this development is best followed in the Qurāns. The use of Kufic calligraphy in the writing of the Qurān decreased, as Ibn Muqla, who connected the letters to certain rules based on the dot and circle, formed the basis of six pens. Half a century later, Ibn al-Bawwāb made the mushaf writing more aesthetic by adding elegance to Ibn Muqlas writing. At the end of the 713th century, when Yāqūt al-Mustaʿsimī changed the angle of gradient of the pen tip and reconsidered six pens, the Qurān began to be written in his style. After the Kufic script, the rayhan and naskh scripts from six pens are the two most preferred scripts in the Qurānic writing. Although the naskh, line evolved in the Ottoman school, the rayhan script attained its classical identity in the hands of Yāqūt. His writing of rayhan became more fluent, lively and harmonious with the meticulous examination of the writings of Ibn al-Bawwāb, the spiritual master of Yāqūt, and his development of writing rules. Letter structures and line stacking have also gained a more regular appearance. For this reason, it is not possible to consider the works of these calligraphers independently of each other, even if there are centuries between them, to understand the evolution process of writing. Even a comparison of only a part of the Qurāns of the two masters that have survived will help us understand this development and change.

 The reign of Abbasids is a period of important developments in the history of calligraphy. Ibn Muqla, Ibn al-Bawwāb and Yāqūt al-Mustaʿsımī, who grew up in Baghdad, which was the culture and art centre of the period, are the figures who occupy an important place in the evolution of Arabic script and in the process of becoming an artistic writing. Undoubtedly, the desire to write the Qurān in a form befitting it has been an encouragement for the calligraphy artists in the evolution of the script. Therefore, the course of this development is best followed in the Qurāns. The use of Kufic calligraphy in the writing of the Qurān decreased, as Ibn Muqla, who connected the letters to certain rules based on the dot and circle, formed the basis of six pens. Half a century later, Ibn al-Bawwāb made the mushaf writing more aesthetic by adding elegance to Ibn Muqlas writing. At the end of the 713th century, when Yāqūt al-Mustaʿsimī changed the angle of gradient of the pen tip and reconsidered six pens, the Qurān began to be written in his style. After the Kufic script, the rayhan and naskh scripts from six pens are the two most preferred scripts in the Qurānic writing. Although the naskh, line evolved in the Ottoman school, the rayhan script attained its classical identity in the hands of Yāqūt. His writing of rayhan became more fluent, lively and harmonious with the meticulous examination of the writings of Ibn al-Bawwāb, the spiritual master of Yāqūt, and his development of writing rules. Letter structures and line stacking have also gained a more regular appearance. For this reason, it is not possible to consider the works of these calligraphers independently of each other, even if there are centuries between them, to understand the evolution process of writing. Even a comparison of only a part of the Qurāns of the two masters that have survived will help us understand this development and change.

 The reign of Abbasids is a period of important developments in the history of calligraphy. Ibn Muqla, Ibn al-Bawwāb and Yāqūt al-Mustaʿsımī, who grew up in Baghdad, which was the culture and art centre of the period, are the figures who occupy an important place in the evolution of Arabic script and in the process of becoming an artistic writing. Undoubtedly, the desire to write the Qurān in a form befitting it has been an encouragement for the calligraphy artists in the evolution of the script. Therefore, the course of this development is best followed in the Qurāns. The use of Kufic calligraphy in the writing of the Qurān decreased, as Ibn Muqla, who connected the letters to certain rules based on the dot and circle, formed the basis of six pens. Half a century later, Ibn al-Bawwāb made the mushaf writing more aesthetic by adding elegance to Ibn Muqlas writing. At the end of the 713th century, when Yāqūt al-Mustaʿsimī changed the angle of gradient of the pen tip and reconsidered six pens, the Qurān began to be written in his style. After the Kufic script, the rayhan and naskh scripts from six pens are the two most preferred scripts in the Qurānic writing. Although the naskh, line evolved in the Ottoman school, the rayhan script attained its classical identity in the hands of Yāqūt. His writing of rayhan became more fluent, lively and harmonious with the meticulous examination of the writings of Ibn al-Bawwāb, the spiritual master of Yāqūt, and his development of writing rules. Letter structures and line stacking have also gained a more regular appearance. For this reason, it is not possible to consider the works of these calligraphers independently of each other, even if there are centuries between them, to understand the evolution process of writing. Even a comparison of only a part of the Qurāns of the two masters that have survived will help us understand this development and change.

 Abbâsîler dönemi hat sanatı tarihi açısından önemli gelişmelerin olduğu bir dönemdir. Devrin kültür ve sanat merkezi Bağdatta yetişen İbn Mukle, İbnül-Bevvâb ve Yâkût el-Mustasımî Arap yazısının gelişiminde ve sanat yazısı olma sürecinde önemli yere sahip simalardır. Şüphesiz, Kurânın ona yakışır sûrette yazılma arzusu, kitâbetin tekâmülünde hüsn-i hat sanatkârları için teşvik edici olmuştur. Dolayısıyla bu gelişimin seyri en iyi mushaflarda takip edilmektedir. Nokta ve daireyi esas alarak harfleri belli kâidelere bağlayan İbn Mukle, aklâm-ı sittenin temelini oluşturarak kûfî hattın mushaf yazımında kullanımını azaltmıştır. Ondan yarım asır sonra İbnül-Bevvâb, İbn Muklenin yazısına zarafet katarak mushaf yazısını daha estetik hâle getirmiştir. 713. yüzyılın sonunda Yâkût el-Mustasımînin kalem ağzı eğimini değiştirip, aklâm-ı sitteyi yeniden ele almasıyla Kurân-ı Kerîm onun üslûbu ile yazılmaya başlanmıştır. Kûfî yazıdan sonra aklâm-ı sitteden reyhânî ve nesih yazılar Kurân yazımında en çok tercih edilen iki yazı olmuştur. Nesih hattı Osmanlı mektebinde tekâmül etse de reyhânî yazı Yâkûtun elinde klasik hüviyetine kavuşmuştur. Yâkût, mânevi üstadı olan İbnül-Bevvâbın yazılarını titizlikle tetkik edip yazım kâidelerini geliştirmesiyle reyhânî yazı akıcı, canlı ve âhenkli hâle gelmiştir. Harf bünyeleri ve satır istifi daha muntazam görünüme kavuşmuştur. Bu nedenle yazının tekâmül sürecini anlayabilmek için aralarında asırlar olsa da hattatların çalışmalarını birbirlerinden bağımsız düşünmek mümkün değildir. İki üstadın günümüze ulaşan mushaflarından sadece bir bölümün mukayesesi dahi bu gelişimi ve değişimi anlamamıza yardımcı olacaktır.

Makale detayları

Rayhan Calligraphy in Ibn al-Bawwāb and Yāqūt al-Mustaʿsimī in the Context of Surah An-Naba

Yazarlar:

Asiye Altan | Abdulkadir Dündar

Yayıncı:

Yozgat Bozok University

Ana Başlıklar:

Türk İslam Sanatında Hat

Dergi:

Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.24 Issue 24, pp.15-51

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001308547

pISSN:

2458-9934

Rayhan

The Six Pens

History of Turkish-Islamic Arts

Ibn al-Bawwāb

Yāqūt al-Mustaʿsimī

Surah an-NabaReyhânî

İbnü’l-Bevvâb

Yâkut el-Musta‘sımî

Türk-İslâm Sanatları Tarihi

Nebe Sûresi

Aklâm-ı Sitte

Sayı

Makale detayları

Yazarlar: Asiye Altan | Abdulkadir Dündar

Yayıncı: Yozgat Bozok University

Ana Başlıklar: Türk İslam Sanatında Hat

Dergi: Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.24 Issue 24, pp.15-51

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001308547

pISSN: 2458-9934

Sayı

Yazarlar:

Asiye Altan | Abdulkadir Dündar

Yayıncı:

Yozgat Bozok University

Ana Başlıklar:

Türk İslam Sanatında Hat

Dergi:

Bozok Üniversitesi İlahiyat Fakültesi Dergisi Vol.24 Issue 24, pp.15-51

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001308547

pISSN:

2458-9934