In fact, can we talk about the importance of authorization in calligraphy here?

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In Turkey, Hasan Çelebi from Erzurum is considered the greatest living master of calligraphy. Have you ever had the chance to meet Hasan Çelebi? Do you follow him?

Yes, of course. Thank God, I had the chance to meet him. In fact, we met not once, but several times, both in Istanbul and the United Arab Emirates, or rather at the exhibition in Dubai, and also in Qatar. There, we had the chance to meet both him and his valuable students -especially Davut Bektaş, an extraordinary calligrapher. Hasan Çelebi has a very important place in the world of calligraphy because he is our connection to the old masters. In particular, it is our connection to Hamid Aytaç, the only calligrapher who lived and actively struggled and produced during the period when calligraphy was disrupted in Turkey in the 20th century. Along with him, calligraphers such as Şeyh Abdülaziz er-Rifaî, Ahmed Kamil, Muhammed Emin, whom we mentioned before, are all great calligraphers who passed away in the middle of the 20th century or before. When Ismail Hakkı, one of Hamit Aytaç's contemporaries, fell ill 2 years before his death, he collected his works and shared them with us. After them, Mustafa Halim, who was a student of Hamid Aytaç, was also a great Turkish calligrapher, but he died young in a traffic accident. Thus, Hasan Çelebi remained the only calligrapher of that period and continued to practice his art for a long time because God gave him a long life. Hamit Aytaç passed away in 1982, but young people who took lessons from him started to emerge at that time. Hasan Çelebi also continued to pass on his knowledge to the new generations. Important names emerged from this generation for the art of calligraphy. Among them, the person we should first mention is Davud Bektaş. Likewise, his later students Ferhat Korlu…

What we call a diploma today was actually an icazetname in the past. In other words, an icazetname used to be a document given to a student by a teacher, not only for calligraphy, but for all sciences. An icazetname for calligraphy was a kind of permission document given to students who WhatsApp Number List practiced this art, learned this art and reached a certain level. In addition to diplomas, icazetnames are still given. The main difference between a diploma and an icazetname is actually the teaching style. In an icazetname, the style of transferring the necessary information is one-to-one, that is, the student receives the information from his teacher personally and directly. In an icazetname, there is a chain extending from the old masters to the present day.



You explained it very well, Professor. After all these answers, a question comes to mind about the adventure of calligraphy in these lands, which extends to you personally. In this context, can you talk about the history of calligraphy in these lands? Who were the master calligraphers of these lands? What was the adventure of calligraphy in these lands?

I would like to mention a few names that are important for our lands and also for the history of the art of calligraphy. First of all, we should mention Osman Boşnak Efendi, who was a very good calligrapher and also a teacher to Sami Efendi. It is obvious that many people who came from Bosnia had important and prominent positions in different areas in the Ottoman Empire/Istanbul. One of those people is Osman Boşnak Efendi, whom we mentioned earlier. I first came across this name while reading Sami Efendi's biography in an Arabic book about famous calligraphers sold at the school I studied in Cairo. After that, I continued to research that name... Of course, Sami Efendi had many more masters, but Osman Boşnak Efendi was his first teacher. Ali Haydar Bey, who was among his other teachers, was also a Bosnian.

Husein Rakim Islamović is one of the famous Bosnian calligraphers. He studied in Istanbul and then continued to live and practice his art in Bosnia. Hafız Sehovic Ibrahim, the imam of the Sultan's Mosque, also wrote 66 Qurans. Calligraphy was alive and fruitful in Bosnia. Nevertheless, we can say that the art of calligraphy in Bosnia is an extension of the Turkish/Istanbul school. Over time, due to historical events and the development of the printing press, calligraphy fell into the background. However, in the 80s, calligraphy began to revive again in both Turkey and Bosnia. IRCICA's contribution here is very significant.
The calligraphy written by Munib Obradovic for Bağlar.

I would also like to talk a little about the content of calligraphy, Professor. In this context, how does the calligrapher build a bridge between the text he writes and the meaning of the text and the person who reads it?

Calligraphy is always based on a text that has a meaning. That text can be the Quran, hadith, poetry, or proverb. Therefore, calligraphy indicates the meaning of the work and the wisdom behind its meaning to people, visitors to exhibitions, and anyone who witnesses that art. Calligraphy connects people to itself with the meaning it carries and its wisdom. Anyone who sees calligraphy, whether they know how to read or not, notices that beauty. The beauty of art, which first arouses curiosity in people, then begins to spread the message of the meaning it carries.