Analysis of Halim Efendi's Djalî Dîwânî Writings in The Darulelhan Collection

Yunus Emre Çelik

Makale detayları

Analysis of Halim Efendi's Djalî Dîwânî Writings in The Darulelhan Collection

Yazarlar:

Yunus Emre Çelik

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Hat

Dergi:

İSTEM Issue 45, pp.509-536

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001353657

pISSN:

1304-0618

Anahtar kelimeler:

Özet:

 Djalî dîwânî is one of the types of writing used in calligraphy. However, it is estimated that this writing was invented around the 16th century and its development progressed slowly due to its being reserved for official business in government offices. Accordingly, although it continues to exist as one of the types of artistic script today, there are very few examples that have strong features from an aesthetic perspective. This study analyzes the cover writings in the first 120 issues of Dârulelhan Collection, printed in Arabic letters, focusing on the names of composers writing djalî dîwânî by Mustafa Halim Efendi. The analysis aims to gather information from various perspectives related to Islamic calligraphy. One of these aims is to examine these texts in order to understand Halim Efendis djalî dîwânî style. Another aim is to explore the relationship between Dârulelhan as a Turkish music institution and Medresetül-Hattatîn as a calligraphy institution, both through the Collection and within the historical context. Finally, the study questions the usability of artistic writings in printed works as examples in calligraphy. Within the framework of these examinations and analyses, the study is important in terms of increasing the resources related to the djalî dîwânî script by enriching it with contexts related to calligraphy aesthetics. Considering that there is a very limited academic literature on the djalî dîwânî script, this research is important in terms of expanding the literature. After briefly examining other types of writing used on the cover, the djalî dîwânî composer names are analyzed in terms of their composition and letters. Finally, the letters extracted from the cover writings are compared with the same letters in Halim Efendis calligraphy workbook, attempting to verify the subject. Ultimately, it has been determined that Halim Efendis artistic approach continues in printed works and that these names constitute a significant source for djalî dîwânî script.

 Djalî dîwânî is one of the types of writing used in calligraphy. However, it is estimated that this writing was invented around the 16th century and its development progressed slowly due to its being reserved for official business in government offices. Accordingly, although it continues to exist as one of the types of artistic script today, there are very few examples that have strong features from an aesthetic perspective. This study analyzes the cover writings in the first 120 issues of Dârulelhan Collection, printed in Arabic letters, focusing on the names of composers writing djalî dîwânî by Mustafa Halim Efendi. The analysis aims to gather information from various perspectives related to Islamic calligraphy. One of these aims is to examine these texts in order to understand Halim Efendis djalî dîwânî style. Another aim is to explore the relationship between Dârulelhan as a Turkish music institution and Medresetül-Hattatîn as a calligraphy institution, both through the Collection and within the historical context. Finally, the study questions the usability of artistic writings in printed works as examples in calligraphy. Within the framework of these examinations and analyses, the study is important in terms of increasing the resources related to the djalî dîwânî script by enriching it with contexts related to calligraphy aesthetics. Considering that there is a very limited academic literature on the djalî dîwânî script, this research is important in terms of expanding the literature. After briefly examining other types of writing used on the cover, the djalî dîwânî composer names are analyzed in terms of their composition and letters. Finally, the letters extracted from the cover writings are compared with the same letters in Halim Efendis calligraphy workbook, attempting to verify the subject. Ultimately, it has been determined that Halim Efendis artistic approach continues in printed works and that these names constitute a significant source for djalî dîwânî script.

 Djalî dîwânî is one of the types of writing used in calligraphy. However, it is estimated that this writing was invented around the 16th century and its development progressed slowly due to its being reserved for official business in government offices. Accordingly, although it continues to exist as one of the types of artistic script today, there are very few examples that have strong features from an aesthetic perspective. This study analyzes the cover writings in the first 120 issues of Dârulelhan Collection, printed in Arabic letters, focusing on the names of composers writing djalî dîwânî by Mustafa Halim Efendi. The analysis aims to gather information from various perspectives related to Islamic calligraphy. One of these aims is to examine these texts in order to understand Halim Efendis djalî dîwânî style. Another aim is to explore the relationship between Dârulelhan as a Turkish music institution and Medresetül-Hattatîn as a calligraphy institution, both through the Collection and within the historical context. Finally, the study questions the usability of artistic writings in printed works as examples in calligraphy. Within the framework of these examinations and analyses, the study is important in terms of increasing the resources related to the djalî dîwânî script by enriching it with contexts related to calligraphy aesthetics. Considering that there is a very limited academic literature on the djalî dîwânî script, this research is important in terms of expanding the literature. After briefly examining other types of writing used on the cover, the djalî dîwânî composer names are analyzed in terms of their composition and letters. Finally, the letters extracted from the cover writings are compared with the same letters in Halim Efendis calligraphy workbook, attempting to verify the subject. Ultimately, it has been determined that Halim Efendis artistic approach continues in printed works and that these names constitute a significant source for djalî dîwânî script.

 Celî dîvânî, hat sanatında kullanılan yazı cinslerinden biridir. Ancak 16. yüzyıl dolaylarında icat edildiği tahmin edilen bu yazının, devlet dairelerinde resmî işlere hasredilmesiyle gelişimi yavaş ilerlemiştir. Buna bağlı olarak günümüzde sanat yazılarından biri olarak varlığını sürdürmesine rağmen, estetik zaviyeden güçlü özellikler taşıyan örnekleri oldukça azdır. Bu çalışmada, Mustafa Halim Efendinin Dârülelhan Külliyatının eski harflerle basılan ilk 120 sayısında yer alan kapak yazılarından celî dîvânî bestekâr isimlerinin hat sanatı açısından tahlili konu edilmiştir. Bu tahlille, başta celî dîvânî için önemli bir kaynak olan bu yazılar üzerine dikkat çekilirken hat sanatı adına birkaç yönden bilgi toplamak amaçlanmaktadır. Bunlardan biri, Halim Efendinin celî dîvânî üslubunun anlaşılmasına dair bu metinlerin incelenmesidir. Diğer bir amaç, bir müessese olarak Türk mûsikîsi cihetinden Dârülelhan ile hat sanatı cihetinden Medresetül-Hattatînin hem Külliyat üzerinden hem tarihi bağlam çerçevesinde ilişkisini sorgulamaktır. Son bir amaç ise matbu eserlerde kullanılan sanatlı yazıların hat sanatında örnek olarak kullanılabilirliğini araştırmaktır. Bu tetkik ve tahliller çerçevesinden çalışma, hat estetiğine dair bağlamlarla zenginleştirilmek suretiyle celî dîvânî hattıyla ilgili kaynakları artırmak yönünden bir önemi taşımaktadır. Celî dîvânî hattına dair çok kısıtlı bir akademik literatürün olduğu göz önüne alındığında bu araştırma, literatürü genişletmek bağlamında bir önem taşımaktadır. Araştırmada kapakta kullanılan diğer yazı cinsleri de kısaca incelendikten sonra celî dîvânî isimler, istif ve harf yönünden ele alınmıştır. En sonda ise kapak yazılarından çıkarılan harflerle Halim Efendinin meşk murakkaındaki aynı harfler bir kıyasa tabi tutularak konunun sağlaması yapılmaya çalışılmıştır. Nihayetinde Halim Efendinin sanatkâr tavrının matbu çalışmalarda da sürdüğü ve celî dîvânî hattı için bu isimlerin önemli bir kaynak oluşturduğu saptanmıştır.

Makale detayları

Analysis of Halim Efendi's Djalî Dîwânî Writings in The Darulelhan Collection

Yazarlar:

Yunus Emre Çelik

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Hat

Dergi:

İSTEM Issue 45, pp.509-536

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001353657

pISSN:

1304-0618

Mustafa Halim Efendi

Khatt

Djalî Dîwânî

Dârulelhan

Medresetu’l HattatinMustafa Halim Efendi

Hat Sanatı

Celî Dîvânî

Dârülelhan

Medresetü'l-Hattatîn

Sayı

Makale detayları

Yazarlar: Yunus Emre Çelik

Yayıncı: Necmettin Erbakan University

Ana Başlıklar: Hat

Dergi: İSTEM Issue 45, pp.509-536

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001353657

pISSN: 1304-0618

Sayı

Yazarlar:

Yunus Emre Çelik

Yayıncı:

Necmettin Erbakan University

Ana Başlıklar:

Hat

Dergi:

İSTEM Issue 45, pp.509-536

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001353657

pISSN:

1304-0618