Chester Beatty and Suleymaniye Library Copies of Ad`iyat al-Ayyām al-Sab`a From the Works of Yāqūt al-Mustaʿsımī

Asiye Altan

Makale detayları

Chester Beatty and Suleymaniye Library Copies of Ad`iyat al-Ayyām al-Sab`a From the Works of Yāqūt al-Mustaʿsımī

Yazarlar:

Asiye Altan

Yayıncı:

Marmara University

Ana Başlıklar:

Türk İslam Sanatında Hat

Dergi:

Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.68 Issue 68, pp.253-287

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350904

pISSN:

1302-4973

Anahtar kelimeler:

Özet:

 Many works of Yāqūt al-Mustasımī, one of the most important calligraphers in the history of calligraphy, have survived to the present day. Among these works are Qurāns, verses containing verses and hadiths, treatises containing wise words, collections of poems and prayers, and small dīwāns. The type of work called Adıyat al-ayyām al-saba consists of Sufi texts containing prayers and dhikr recommended to be recited seven days a week. Although these prayers are attributed to the Ahl al-Bayt, there is no such narration in the famous hadith books. The text mainly consists of supplications accompanied by verses, hadiths, expressions of praise for Allah, salawāt, thanks, and repentance sentences preferred by scholars and Sufis. The article includes information about this genre, specifically the works named Adıyat al-ayyām al-saba, inventory numbered Ar.4237 in Chester Beatty Library and 2765 in Suleymaniye Library Hagia Sophia, attributed to Yāqūt al-Mustasımī. The study aims to introduce the aforementioned works in terms of calligraphy, to determine their styles, and to address the problem of their affiliation to Yāqūt al-Mustasımī. The problem of the research is again the stylistic features of these two works and whether they are compatible with the Yāqūt style. After providing the works visuals, the manuscripts physical features are briefly mentioned. Since the binding features and decorative elements are outside the scope of the research, they are not detailed. Later, the rayhan, naskh, and thuluth script styles preferred in the writings of both works were discussed in terms of syllabus, bowled, bowled, and cubed letters, vowels, and line order. First, it was examined whether the writing style used the Yāqūt method. Then, since many works attributed to Yāqūt were written in imitation, the works under study were compared with the colophon record and style features of some manuscripts thought to belong to Yāqūt al-Mustasımī. The work with the inventory number Chester Beatty LibraryAr.4237 was written with a wider-mouthed pen than the rayhan script, so it was compared with two works with both rayhan and muhaqqaq scripts. In addition, since Yāqūt authorized his students to sign in his name, the work was compared with two works with light muhaqqaq script attributed to his two famous students, Mubarakshah b. Suyufi and Abdallah al-Kamilî. The fact that the kataba record of the work numbered Hagia Sophia2765 of the Suleymaniye Library, which was written in alternating naskh and thuluth script, was added later and that the writing style of the colophon indicates Ottoman thuluth, necessitated a cautious approach to the works attribution to Yāqūt al-Mustasımī. However, the work numbered Hagia Sophia2765 of the Suleymaniye Library inventory was examined in two ways because it was also attributed to Mubarakshah b. Qutb with a note. In this context, the stylistic features of the two works, which included sections attributed to Mubarakshah b. Qutb, was examined. As a result, some contradictions were revealed in the attribution of the work to the aforementioned calligrapher. As a result, the inscriptions of both works indicate the Yāqūt school. The line order, page composition, letter structures, vowel points, and decorative elements are compatible with the Yāqūt style. However, there is no unity of style in the inscriptions of the works attributed to Yāqūt al-Mustasımī, whose originality is favorably considered. Therefore, the affiliation of the works to Yāqūt was approached with caution, because many works written by the calligraphers of the period, both during the Timurids and in the following centuries, were signed in the name of Yāqūt al-Mustasımī and her famous students. Of course, to reach such a conclusion about these works, they should be examined by a team of experts in different fields. This is because to reach a conclusion about the originality of the works, the periodic consistency of the illumination, paper, and ink properties should also be taken into consideration, in addition to the writing style. There are masters and doctoral theses in literature, specifically in the works of Yāqūt al-Mustasımī. However, the fact that only the works physical properties, numbered Suleymaniye Library Hagia Sophia2765 inventory, were mentioned regarding the works subject to the research is important regarding the articles originality.

 Hat sanatı tarihinin en önemli hattatlarından olan Yâkût el-Mustasımînin pek çok eseri günümüze kadar ulaşmıştır. Bu eserler arasında mushaflar, ayet ve hadis muhtevalı kıtalar, hikmetli sözler içeren risaleler, şiir ve dua mecmuaları ile küçük dîvânlar vardır. Edıyetül-eyyâmis-seba olarak isimlendirilen eser türü de haftanın yedi gününde okunması tavsiye edilen dua ve zikir içerikli tasavvufi metinlerden oluşmaktadır. Makale, Yâkût el-Mustasımîye atfedilen Chester Beaatty Kütüphanesi Ar. 4237 ve Süleymaniye Kütüphanesi Ayasofya2765 envanter numaralı Edıyetül-eyyâmis-seba isimli eserler özelinde bu tür hakkında bilgi içermektedir. Mezkûr eserlerin hat sanatı açısından tanıtılması, üsluplarının belirlenmesi ve Yâkût el-Mustasımîye aidiyet probleminin ele alınması çalışmanın amacını oluşturmaktadır. Araştırmanın problemi ise yine bu iki eserin üslup özellikleri ve Yâkût üslubuyla uyumlu olup olmadıklarıdır. Eserlerin görsellerinin temini aşamasından sonra öncelikle el yazmalarının fiziksel özelliklerine kısaca değinilmiştir. Cilt özellikleri ve tezyinî unsurlar araştırma kapsamı dışında olduğu için detaylandırılmamıştır. Ardından eserlerin kitâbetinde tercih edilen reyhânî, nesih ve sülüs hat üslupları belirlenmiştir. Öncelikle yazı üslubunun Yâkût usulüne uygun olup olmadığına bakılmıştır Daha sonra Yâkûta atfedilen pek çok eser takliden yazıldığından araştırmaya konu olan eserler ile Yâkût el-Mustasımîye ait olduğu düşünülen bazı el yazmalarının ketebe kaydı ve üslup özellikleri mukayese edilmiştir. Ayrıca Süleymaniye Kütüphanesi Ayasofya2765 envanter numaralı eser, bir notla Mübârekşah b. Kutba da atfedildiği için iki yönlü incelenmiştir. Araştırma neticesinde her iki eserin kitâbetinin de Yâkût mektebini işaret ettiği görülmüştür. Satır nizamı, sayfa kompozisyonu ve harf bünyeleri genel olarak Yâkût üslubuyla uyumludur. Fakat Yâkûta atfedilen ve orijinalliğine sıcak bakılan eserlerin kitâbetiyle üslup birliği yoktur. Süleymaniye Kütüphanesi Ayasofya2765 envanter numaralı eserin de Mübârekşah b. Kutba atfı ile ilgili üslup özellikleri üzerinden bazı çelişkiler tespit edilmiştir. Literatürde, Yâkût el-Mustasımînin eserleri özelinde konuyla ilgili çalışmaya rastlanmayışı makalenin orijinalliği açısından önem arz etmektedir.

 Many works of Yāqūt al-Mustasımī, one of the most important calligraphers in the history of calligraphy, have survived to the present day. Among these works are Qurāns, verses containing verses and hadiths, treatises containing wise words, collections of poems and prayers, and small dīwāns. The type of work called Adıyat al-ayyām al-saba consists of Sufi texts containing prayers and dhikr recommended to be recited seven days a week. Although these prayers are attributed to the Ahl al-Bayt, there is no such narration in the famous hadith books. The text mainly consists of supplications accompanied by verses, hadiths, expressions of praise for Allah, salawāt, thanks, and repentance sentences preferred by scholars and Sufis. The article includes information about this genre, specifically the works named Adıyat al-ayyām al-saba, inventory numbered Ar.4237 in Chester Beatty Library and 2765 in Suleymaniye Library Hagia Sophia, attributed to Yāqūt al-Mustasımī. The study aims to introduce the aforementioned works in terms of calligraphy, to determine their styles, and to address the problem of their affiliation to Yāqūt al-Mustasımī. The problem of the research is again the stylistic features of these two works and whether they are compatible with the Yāqūt style. After providing the works visuals, the manuscripts physical features are briefly mentioned. Since the binding features and decorative elements are outside the scope of the research, they are not detailed. Later, the rayhan, naskh, and thuluth script styles preferred in the writings of both works were discussed in terms of syllabus, bowled, bowled, and cubed letters, vowels, and line order. First, it was examined whether the writing style used the Yāqūt method. Then, since many works attributed to Yāqūt were written in imitation, the works under study were compared with the colophon record and style features of some manuscripts thought to belong to Yāqūt al-Mustasımī. The work with the inventory number Chester Beatty LibraryAr.4237 was written with a wider-mouthed pen than the rayhan script, so it was compared with two works with both rayhan and muhaqqaq scripts. In addition, since Yāqūt authorized his students to sign in his name, the work was compared with two works with light muhaqqaq script attributed to his two famous students, Mubarakshah b. Suyufi and Abdallah al-Kamilî. The fact that the kataba record of the work numbered Hagia Sophia2765 of the Suleymaniye Library, which was written in alternating naskh and thuluth script, was added later and that the writing style of the colophon indicates Ottoman thuluth, necessitated a cautious approach to the works attribution to Yāqūt al-Mustasımī. However, the work numbered Hagia Sophia2765 of the Suleymaniye Library inventory was examined in two ways because it was also attributed to Mubarakshah b. Qutb with a note. In this context, the stylistic features of the two works, which included sections attributed to Mubarakshah b. Qutb, was examined. As a result, some contradictions were revealed in the attribution of the work to the aforementioned calligrapher. As a result, the inscriptions of both works indicate the Yāqūt school. The line order, page composition, letter structures, vowel points, and decorative elements are compatible with the Yāqūt style. However, there is no unity of style in the inscriptions of the works attributed to Yāqūt al-Mustasımī, whose originality is favorably considered. Therefore, the affiliation of the works to Yāqūt was approached with caution, because many works written by the calligraphers of the period, both during the Timurids and in the following centuries, were signed in the name of Yāqūt al-Mustasımī and her famous students. Of course, to reach such a conclusion about these works, they should be examined by a team of experts in different fields. This is because to reach a conclusion about the originality of the works, the periodic consistency of the illumination, paper, and ink properties should also be taken into consideration, in addition to the writing style. There are masters and doctoral theses in literature, specifically in the works of Yāqūt al-Mustasımī. However, the fact that only the works physical properties, numbered Suleymaniye Library Hagia Sophia2765 inventory, were mentioned regarding the works subject to the research is important regarding the articles originality.

 Many works of Yāqūt al-Mustasımī, one of the most important calligraphers in the history of calligraphy, have survived to the present day. Among these works are Qurāns, verses containing verses and hadiths, treatises containing wise words, collections of poems and prayers, and small dīwāns. The type of work called Adıyat al-ayyām al-saba consists of Sufi texts containing prayers and dhikr recommended to be recited seven days a week. Although these prayers are attributed to the Ahl al-Bayt, there is no such narration in the famous hadith books. The text mainly consists of supplications accompanied by verses, hadiths, expressions of praise for Allah, salawāt, thanks, and repentance sentences preferred by scholars and Sufis. The article includes information about this genre, specifically the works named Adıyat al-ayyām al-saba, inventory numbered Ar.4237 in Chester Beatty Library and 2765 in Suleymaniye Library Hagia Sophia, attributed to Yāqūt al-Mustasımī. The study aims to introduce the aforementioned works in terms of calligraphy, to determine their styles, and to address the problem of their affiliation to Yāqūt al-Mustasımī. The problem of the research is again the stylistic features of these two works and whether they are compatible with the Yāqūt style. After providing the works visuals, the manuscripts physical features are briefly mentioned. Since the binding features and decorative elements are outside the scope of the research, they are not detailed. Later, the rayhan, naskh, and thuluth script styles preferred in the writings of both works were discussed in terms of syllabus, bowled, bowled, and cubed letters, vowels, and line order. First, it was examined whether the writing style used the Yāqūt method. Then, since many works attributed to Yāqūt were written in imitation, the works under study were compared with the colophon record and style features of some manuscripts thought to belong to Yāqūt al-Mustasımī. The work with the inventory number Chester Beatty LibraryAr.4237 was written with a wider-mouthed pen than the rayhan script, so it was compared with two works with both rayhan and muhaqqaq scripts. In addition, since Yāqūt authorized his students to sign in his name, the work was compared with two works with light muhaqqaq script attributed to his two famous students, Mubarakshah b. Suyufi and Abdallah al-Kamilî. The fact that the kataba record of the work numbered Hagia Sophia2765 of the Suleymaniye Library, which was written in alternating naskh and thuluth script, was added later and that the writing style of the colophon indicates Ottoman thuluth, necessitated a cautious approach to the works attribution to Yāqūt al-Mustasımī. However, the work numbered Hagia Sophia2765 of the Suleymaniye Library inventory was examined in two ways because it was also attributed to Mubarakshah b. Qutb with a note. In this context, the stylistic features of the two works, which included sections attributed to Mubarakshah b. Qutb, was examined. As a result, some contradictions were revealed in the attribution of the work to the aforementioned calligrapher. As a result, the inscriptions of both works indicate the Yāqūt school. The line order, page composition, letter structures, vowel points, and decorative elements are compatible with the Yāqūt style. However, there is no unity of style in the inscriptions of the works attributed to Yāqūt al-Mustasımī, whose originality is favorably considered. Therefore, the affiliation of the works to Yāqūt was approached with caution, because many works written by the calligraphers of the period, both during the Timurids and in the following centuries, were signed in the name of Yāqūt al-Mustasımī and her famous students. Of course, to reach such a conclusion about these works, they should be examined by a team of experts in different fields. This is because to reach a conclusion about the originality of the works, the periodic consistency of the illumination, paper, and ink properties should also be taken into consideration, in addition to the writing style. There are masters and doctoral theses in literature, specifically in the works of Yāqūt al-Mustasımī. However, the fact that only the works physical properties, numbered Suleymaniye Library Hagia Sophia2765 inventory, were mentioned regarding the works subject to the research is important regarding the articles originality.

Makale detayları

Chester Beatty and Suleymaniye Library Copies of Ad`iyat al-Ayyām al-Sab`a From the Works of Yāqūt al-Mustaʿsımī

Yazarlar:

Asiye Altan

Yayıncı:

Marmara University

Ana Başlıklar:

Türk İslam Sanatında Hat

Dergi:

Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.68 Issue 68, pp.253-287

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350904

pISSN:

1302-4973

History of Turkish-Islamic Arts

Yāqūt al-Mustaʿsımī

Seven Days Prayers

Islamic Calligraphy

Style.Türk-İslam Sanatları Tarihi

Yâkût el-Musta‘sımî

Yedi Gün Duaları

Hüsn-i Hat

Üslûp.

Sayı

Makale detayları

Yazarlar: Asiye Altan

Yayıncı: Marmara University

Ana Başlıklar: Türk İslam Sanatında Hat

Dergi: Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.68 Issue 68, pp.253-287

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001350904

pISSN: 1302-4973

Sayı

Yazarlar:

Asiye Altan

Yayıncı:

Marmara University

Ana Başlıklar:

Türk İslam Sanatında Hat

Dergi:

Marmara Üniversitesi İlahiyat Fakültesi Dergisi Vol.68 Issue 68, pp.253-287

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001350904

pISSN:

1302-4973