Emin Barin Calligraphy Collection

Auction: Fall 2008 - 1 - Emin Barin Calligraphy Collection
Category : Table

– It is included in the book “Calligraphy in Islamic Cultural Heritage”, no.180, prepared by Uğur Derman and published by IRCICA Publications in Istanbul in 1992.

– It will be included in the book “Emin Barın and His Collection” to be published.

In order not to lose their manual skills, calligraphers draw their art whenever they have time.

contains more information about their performance and the development of their style than the completed works.

For this reason, throughout history, the scribbles of great calligraphers have been preserved like treasures, passed from hand to hand.

Here is a scribble by Sheikh Hamdullah, one of the most important Ottoman calligraphers.

Irvin Cemil Schick is an MIT Research Associate.

– It will be included in the book “Emin Barın and His Collection” to be published.

HASAN RIZAL

He was born in Üsküdar. His father was the Tırnova postmaster Ahmet Nazif Efendi. He studied at Hafız Münib Efendi's school and took his first writing lesson there. Famous calligrapher Yahya Hilmi Efendi became his teacher.

Pertevniyal Valide Sultan's uncle Hüseyin Efendi, who was the Kapı Çuhadar, registered his nephew Hasan Rıza to the Müzika-yi Hümayun upon request from Valide Sultan. He received permission from Hasan Rıza and Şefik Bey. He was also a student of Kazasker Mustafa İzzed. He was first appointed as the Imam of the Müzika-yi Hümayun, and then, when Şefik Bey retired, as the calligraphy teacher of the Hümayun.

When the Medrese-tül Hattatin (Calligraphers' Madrasa) was opened, he became a teacher of Thuluth, Naskh and Reyhani there.

Hasan Rıza Efendi, one of the most valuable calligraphers who lived between the end of the 19th century and the beginning of the 20th century, wrote 19 Qurans. The panels of the Cihangir Mosque, the Hilye-i Saadet in the Sultan Selim Mosque, the ones in the Mosque built in Söğüt and the ones hanging in Makam-ı İbrahim in Mecca.

The writings of the first four caliphs belong to him.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p.227.

– It will be included in the book “Emin Barın and His Collection” to be published.

IBRAHIM ALADDIN

He learned writing from Şefik Bey and received permission. Later, he also trained many students.

He wrote many sülüs, nesih, celi scripts and tablets. The inscriptions and tablets in the Orhaniye Mosque and the tablets with the inscription "Allah" on the windows of the Sinan Pasha Mosque in Beşiktaş are his works.

– It is included in the book “Masterpieces of Turkish Calligraphy”, no.30, prepared by Uğur Derman and published in Istanbul by the Ministry of Culture Publications in 1982.

– It will be included in the book “Emin Barın and His Collection” to be published.

Here is the hidden treasure of this auction: Two pairs of sequential thuluth lines of meshk stanzas, which, although not signed, leave no doubt that they are by Mustafa Râkım.

The first line shows the Rabbi Yessir... prayer, the second line shows the letters elifba, and the third and fourth lines show the letters ba and cim combined with other letters. Undoubtedly, this much of a curriculum meshki, which has many more pages, has survived to the present day, the rest has been lost.

Let me leave the word to Uğur Derman about these stanzas that I was smitten with the moment I first saw them: Mustafa Râkım has managed to arrange this sülüs practice in a style befitting his genius, and it is a Râkımâne masterpiece that has no equal in terms of letter and compositional beauty. The original decorations on the papers belong to his period, the rest is the work of Rikkat Hanım.

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MUSTAFA RAKI

He is the brother of the famous calligrapher İsmail Zühdi. In addition to his madrasah education, he also continued his calligraphy education.

He received his diploma from Derviş Ali and İsmail Zühdi when he was twelve. He gave calligraphy lessons to Sultan Selim III's son, Prince Mahmud II. Thanks to the respect Sultan Mahmud II showed to his teacher, he served as a judge in İzmir in 1809, Edirne in 1814, Mecca in 1816 and Istanbul in 1818. He re-compiled the Ottoman tughra and brought it to standard measurements. He gave the tughras of Sultan Selim III, Sultan IV. Mustafa and Sultan II. their final forms, which would not change later. The belt inscriptions on the Fatih Nakşidil Sultan Tomb and the Nusretiye Mosque belong to him.

– It is included in the book “Calligraphy in Islamic Cultural Heritage”, no.94, prepared by Uğur Derman and published by IRCICA Publications in Istanbul in 1992.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is included in the book “Masterpieces of Turkish Calligraphy”, no.46, prepared by Uğur Derman and published in Istanbul by the Ministry of Culture Publications in 1982.

– It will be included in the book “Emin Barın and His Collection” to be published.

KAZASKER MUSTAFA İZZET

He was born in Tosyalı. After the death of his father Destanağazade Mustafa Ağa, he went to Istanbul. He worked at the Başkurşunlu Madrasah in Fatih. He increased his knowledge in the Silahdar Gazi Ahmed Paşazade Ali Paşa Department for three years. In the meantime, he started learning writing. He played the ney for a long time and was interested in singing. He received his ijazah by learning thuluth and nesih from the Hamidiye Evkaf district governor Çömez Mustafa Vâsıf Efendi and talik from Yesarizade Mustafa İzzed.

With the accession of Sultan Abdulmecid to the throne, he was appointed as the preacher of the Eyüp Mosque and later became the second imam. He served as the judge of Thessaloniki, Mecca, Istanbul at various dates and as the Anatolian Kazasker in 1849. He then became a writing instructor to the princes. He trained many valuable calligraphers. Mehmed Şefik, Muhsinzade Abdullah, Vahdeti, Abdullah Zühtü, Burdurlu Hâfız Osman, Mehmed Hilmi and İlmi were among his students.

– It will be included in the book “Emin Barın and His Collection” to be published.

A heart-warming hadith stanza, signed by Kazasker Mustafa İzzed Efendi as “Imam of the Promised Order of the Believers Abdulmecid Khan”, indicating his position, with both thuluth and naskh lines.

Many calligraphers have written the phrase Allah veliyü't-tevfik, but only a few have achieved such an elegant result as the one here. The huge shadde and ötre signs on the 'kaşîdeli ye' create a wonderful balancing element, while the 'kaşîde's' given to the letters fe and kaf beautifully lengthen this relatively short phrase.

The seats are still quite narrow, but the cloudy illumination inside them, inspired by sixteenth-century decorations, adds splendor to the work.

ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

ISMAIL ZUHDI

He was born in the Black Sea town of Ünye.

He came to Istanbul with his father and learned aklam-ı sitte from Ahmed Hıfzı Efendi. He received the pen name Zühdi in 1766 with his ijazah. During the reign of Sultan Mustafa III, he was appointed as the calligraphy teacher of the Enderûn-ı Hümayun and remained in this position until his death. He became the calligrapher of the Imperial Palace and wrote 40 mushafs, numerous stanzas, murakkas and hilyes. His brother Mustafa Rakım is among the calligraphers he trained.

– It will be included in the book “Emin Barın and His Collection” to be published.

There is probably agreement that the most important work of Ismail Zuhdî is by his brother, the great calligrapher Mustafa Rakim, but I think no one can deny that each of his thuluth-nesih stanzas and even his scribbles are exquisite and refreshing to the eye and heart.

Ismail Zuhdî, whose skill in producing letters of such perfection that no correction is necessary, is legendary, is one of the most successful representatives of the Hafiz Osman style.

It is instructive to compare the thuluth line of this stanza with the famous stanza of Sheikh Hamdullah, which is in the Istanbul University Library and has been a source of inspiration for many calligraphers, in order to identify both the similarities and the subtle differences between the two.

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– It will be included in the book “Emin Barın and His Collection” to be published.

There is a prayer that is customary to repeat at the beginning of calligraphy learning: Make it easy, my Lord.

do not make it difficult; complete it, my Lord, with the best.

Mustafa Kutahi, who wrote this prayer in both Thuluth and Naskh script, lived in the eighteenth century.

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MUSTAFA KUTAHİ

He was born in Kütahya. He was known as "Şeyhzade".

He became the son-in-law of the imam of the Fatma Sultan Mosque. He wrote calligraphy from Rhodes.

With a colophon. The Basmala and Hadith Sharifs are written in Thuluth and Naskh calligraphy. The inscription below reads, "Help is only with the help of Allah, and how excellent a helper He is." Illuminated with various gold motifs by Rikkat Kunt.

Size: 33 x 27 cm.

Price: 6,000 TL / $392,200.00

– It will be included in the book “Emin Barın and His Collection” to be published.

In the nineteenth century, a division of ways occurred in the Thuluth-Naskh style, the effects of which have continued to this day. One of these two ways is that of Kazasker Mustafa Izzed Efendi, and the other is that of Mehmed Şevkı Efendi, the owner of this stanza.

Trying to determine which one is “better” is, of course, a waste of time. But it is impossible not to admire Shoghi Effendi’s Naskh script, which resembles lined-up pearls.

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MEHMED SHEVKI

He was born in Kastamonu and was brought to Istanbul at a young age.

He learned thuluth and naskh from his uncle, the calligrapher Hulusi Efendi.

He received his diploma when he was only 12 years old. He taught at the “Menşe-i Küttab-ı Askeri” (Military Library) affiliated with the Ministry of War throughout his life. He taught at the school opened for the children of the Princes and high-ranking individuals in Yıldız. He was also the teacher of Şevki Efendi Bakkal Arif. His works are in the Topkapı Palace Museum and many mosques.

– It will be included in the book “Emin Barın and His Collection” to be published.

Here is a stanza that clearly shows why Hasan Riza is considered one of the great masters of Naskh script.

In the naskh section of this work, which is based on a famous hadith that defines both social and political authority, meaning that "you are all rulers and you are all responsible for those under your rule", the consecutive pipe kefs give the text an exceptional rhythm.

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– It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p.259.

– It will be included in the book “Emin Barın and His Collection” to be published.

ISMAIL HAKKI ALTUNBEZER

He learned Thuluth and Naskh calligraphy from his father.

He practiced drawing a tughra, divanî, celi, divanî and celi calligraphy with Sami Efendi. He graduated from the painting department of the School of Fine Arts at the top of his class. He was also interested in the illumination of his writings. It was from this talent that he took the surname Altunbezer.

Ketebeli. Hadiths are written in thuluth and naskh calligraphy. The marbled border is from the period, and the marbled parts of the seats were made by Necmeddin Okyay.

Size: 41 x 35 cm.

Price: 7,000 TL / $457,500.00

– It will be included in the book “Emin Barın and His Collection” to be published.

“THE SEVEN TOWERS” SEYYID ABDULLAH

He was born in the Yedikule district of Istanbul. Since his lineage goes back to Hz. Muhammed, he would mention his seyyid status in his signatures. Another name of his is Emir. He started practicing aklam-ı sitte with Hafiz Osman when he was 17 years old. He received his ijazah in a short time of 40 months. He continued his duty as imamate of Imrahor Mosque until the end of his life. He wrote Mushaf, En'am, numerous kı'a, murakka, Hilye and other books and trained many students. "Eğrikapılı" Mehmed Rasim Efendi and Şekerzâde Mehmet Efendi were his most famous students. He was appointed as the practice teacher of Topkapı Palace with the interest of Sultan Ahmed III.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli. Hadiths are written in Naskh script. The marbled border is from a later period.

Size: 30 x 23.5 cm.

Price: 5,000 TL / $326,800.00

– It will be included in the book “Emin Barın and His Collection” to be published.

HAFIZ OSMAN

Hafız Osman is the second genius of Turkish calligraphy after Şeyh Hamdullah. He was born in Istanbul. He memorized the Quran at a young age and was raised under the protection of Köprülüzade Fazıl Mustafa Pasha.

He started taking lessons from Dervish Ali because of his interest in calligraphy. However, due to his old age, his teacher wanted his talented student to be trained by Suyolcuzade Eyyubi Mustafa Efendi.

Hafız Osman completed the deficiencies left by his first teacher and received permission from his new teacher in Aklam-ı Sitte (thulus, nesih, muhakkak, reyhani, tevki and rik'a scripts) in 1659.

After this authorization, he began to learn all the features of Sheikh Hamdullah calligraphy and studied his works.

The calligrapher, who began to seek innovations in calligraphy after the age of 40, began to produce works in his own style by adding his own creativity and taste to the Sheikh's letters from 1679 onwards. Among the works he produced with Aklam-ı Sitte are Qur'ans, En'am-ı Şerifler, Delail-i Hayrat, stanzas, scribbles and murakkas.

Another invention that Hafiz Osman brought to the art of calligraphy was the Hilya-i Sharif, which was in the form of a plate and had never been seen before.

Hafız Osman, who also taught calligraphy to Sultan Ahmed III during his princedom and to Sultan Mustafa II during his reign, left behind a new school of calligraphy, students who sought to attain his art, and works that are masterpieces in museums.

Size: 33.5 x 28 cm

Price: 15,000 TL / $980,400.00

Ketebeli. Muhakkak and in naskh calligraphy “Mind was given to us not to comprehend divinity, but to fulfill the duty of servitude”, “The comfort of the body is in eating little, the comfort of the tongue is in speaking little, the comfort of the soul is in sleeping little, and the comfort of the heart is in the lack of the feeling of revenge”, “Good people can be deceived with beautiful words. A poor person is someone who has no loved ones”, “The safety of a living is in farming”, The little you have in your pocket is better than the much you don’t have”, “Work for your worldly life as if you will never die, and for your afterlife as if you will die tomorrow”, “Politics is the light of hypocrisy”, “Teaching a foolish person is wasting one’s life”, “If the state prospers, the mind overcomes selfish desires; if it is ignorant, selfish desires overcome the mind”, “Don’t you pray for rain?”, “Fulfill your servitude; It says, “He knows his divinity better.” The illumination, made with various golden motifs in the classical style, belongs to a later period.

– It is included in the book “Masterpieces of Turkish Calligraphy”, no.3, prepared by Uğur Derman and published in Istanbul by the Ministry of Culture Publications in 1982.

– It will be included in the book “Emin Barın and His Collection” to be published.

Sheikh Hamdullah is considered the beginning of Ottoman calligraphy. A generation after he abolished the Yakut style and introduced his own style, there was no calligrapher left in the Ottoman lands who did not follow his style. This very beautiful muhakkak-nesih stanza belongs to the years when he began to develop his own style.

Another interesting feature of the work is that it collects the sayings of various people, from Aristotle to Plato to Hz. Ali, about being a good person and living one's life right.

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SHEIKH HAMDULLAH

He was born in Amasya. His father Mustafa Dede migrated from Bukhara to Amasya. He took lessons from Hayreddin Mar'aşî, who learned the six types of writing from Abdullah Sayrafî, a student of Yakut Mustâ'sımı. Before Sultan Bayezid II ascended to the throne, he was the governor of Amasya. He met Sheikh Hamdullah there. Sultan Bayezid II's interest in writing opened a new horizon in Hamdullah's life. Sultan Bayezid II took writing lessons and received an authorization from Sheikh Hamdullah. After Bayezid ascended to the throne, he invited Hamdullah to Istanbul. He gave him a practice room in the Harem-i Hümayun in Topkapı Palace. He was the sheikh of the Okçular Lodge in Okmeydanı. The title "Sheikh" also comes from there. The Sultan gave him seven panels of Yakut's writings to examine. Hamdullah studied the writings on the tablets for forty days and forty nights, on the condition that he never went out. Finally, he gave such an air to the Yakut script that everyone who saw it was amazed. The admiration he gathered increased Hamdullah's enthusiasm. The Sultan's admiration for him caused the ulema to become jealous of Hamdullah. When Yavuz Sultan Selim ascended to the throne, Hamdullah's star began to fade. During this period, the Sheikh began to withdraw to a small hut in Alemdağ and spend his days in prayer. When Kanuni ascended to the throne, he thought of showing him the respect he had not received from Yavuz and invited him to his presence. He asked him to write the Quran. The number of writings of the Sheikh, who wrote 47 Qurans, as Enam, Evrad and Cüz, exceeded a thousand. He wrote numerous verses and murakka. The inscriptions on the mihrab, central gate, Davut Pasha, Firuz Agha and the gates of the Bayezid Mosque in Edirne belong to him. His works are in the Topkapi Palace Museum and other museums.

– It will be included in the book “Emin Barın and His Collection” to be published.

MACIT AYRAL

He was born in Istanbul. While studying at the Hamidiye School in Beylerbeyi, he learned thuluth and naskh from his teacher Ali and Enderunlu Ahmet Rakım Efendi.

He admired the calligrapher Şefik Bey and worked hard on his writing. He attended Medresetü'l-Hattatin. He improved his celi thuluth script from İsmail Hakkı Bey and his talik script from Hulusi Efendi. He went to Iraq to teach calligraphy in 1955. His celi scripts can be found in the Şişli, Levent, Şile, Seyid Ahmet, Bebek, Yeşilköy Kemer Hatun and Davut Paşa mosques.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is included in the book “Calligraphy in Islamic Cultural Heritage”, no.182, prepared by Uğur Derman and published by IRCICA Publications in Istanbul in 1992.

– It will be included in the book “Emin Barın and His Collection” to be published.

It is well-known that Halim Efendi took a pen and wrote “crackling” celi masterpieces, but this work of his is perhaps of a quality that will surpass them all.

The way he skillfully placed the 11 kef letters and other dentate and capital letters in the phrase "keşkekmis keşkek kefçesi", which he wrote in one sitting upon the instigation of the painter Feyzullah Dayıgil, and drew the final letter "makus ye" with his pencil from beginning to end as if he had used a ruler, can rightly be considered a miracle of calligraphy.

The illumination belongs to Rikkat Hanım.

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– It is on p.8 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

HAMID AYTAC

He is from Diyarbakır. His real name is Musa Azmi. He studied at Diyarbakır Military Junior High School and Diyarbakır High School. He took his first writing lessons at these schools. He came to Istanbul in 1908. He took lessons from famous calligraphers to develop his writing art. He learned celi thuluth from Hacı Nafız Bey.

– It is included in the book “Masterpieces of Turkish Calligraphy”, no.21, prepared by Uğur Derman and published in Istanbul by the Ministry of Culture Publications in 1982.

– It will be included in the book “Emin Barın and His Collection” to be published.

Mahmud Celaleddin's style is described as harsh and is said to be a reflection of his proud personality.

Min gayride, I think that he is one of the most interesting and original artists of calligraphy, even in his celi writings. After all, the character of an artist is not reflected in his works in such a simple and direct way!

This elegant tablet, where some of the vowel and ornamental signs are written in black and some in ruby ​​ink, contains an Arabic verse: Muhammad is a human being, [but] he does not resemble a human being; he is like a ruby ​​among stones.

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MAHMUD CELALEDDIN

He was born in the Caucasus. He formed his own school by taking inspiration from Sheikh Hamdullah and Hafiz Osman. He reflected his personality traits in almost all of his works. Unlike other calligraphers, he would put his signature on various parts of his writings. The calligrapher, who had Nesih and Thuluth Veceli scripts, wrote the interior inscriptions of the Eyüp Mosque soup kitchen and the inscriptions of the Mihrişah Sultan Tomb. His works are in many museums and collections.

Ketebeli, dated 1389 (1969). In the middle of the celi sülüs calligraphy, "Allah celle şanuhu Muhammed aleyhisselam" and in the corners, the names of the 4 Caliphs are written. Illuminated by Rikkat Kunt with gold and various colors and motifs.

– It will be included in the book “Emin Barın and His Collection” to be published.

Size: 40 x 35 cm.

Price: 5,000 TL / $326,800.00

Ketebeli, dated h.1361 (1942). Inscribed with thuluth talik and celi divani script, “Allah is sufficient, the rest is a passing fancy” and “A memory of the August 1942 Yakacık trip”.

– It will be included in the book “Emin Barın and His Collection” to be published.

To be honest, I don't like going on picnics; as Diana Rigg says in a movie, "Nature is a place where some birds and animals roam around in raw form", in my opinion! But maybe if I had the chance to experience something like the 1361/1942 Yakacık trip that this plaque commemorates, I would stick my nose out of the four walls more often. Two Allah bes bâki heves scripts, the first in celî sülüs, the other in celî ta'lîk, by Tuğrakeş İsmail Hakkı Bey and Necmeddin Hoca.

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Ketebeli, dated h.1389 (1969). Types of writing on the plate: Kufi, thuluth, riq'a, nesih, muhakkak, tevki, ince tevki, talik, hurde talik, divani, celi divani. Illuminated with various gold motifs by Rikkat Kunt.

Size: 62 x 46 cm.

Price: 15,000 TL / $980,400.00

– It will be included in the book “Emin Barın and His Collection” to be published.

One of the most distinctive characteristics of Hamid Aytaç is probably the breadth and comprehensiveness of his talents.

As if to emphasize this, in this Hutut-ı Mütenevvia tablet, many styles of calligraphy, from kufi to thuluth, nesih, celi thuluth, muhakkak, reyhânî, tevki, rikaa, divanî, celi divanî, rika, ta'lik, celi ta'lik, are listed one after the other with an unfailing skill. And as if that were not enough, the illumination of the tablet is the work of Rikkat Hanım, one of the greatest illumination artists of the last century.

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Size: 40 x 36 cm.

Price: 12,000 TL / $784,300.00

– It will be included in the book “Emin Barın and His Collection” to be published.

With a kite. Surah Fatiha written in Thuluth calligraphy. The inner and outer borders are illuminated with gold leaf and flower motifs.

Size: 46 x 32 cm.

Price: 10,000 TL / $653,600.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Many calligraphers wrote the Fatiha sura in the thuluth pen: Mustafa Rakim, Ahmed Rakim, Kamil Efendiler and others. This is one of the Fatihas composed in this style by Mahmud Celaleddin.

The calligrapher's use of a mim letter in the bismi part of the Basmala, his placement of the colophon with the phrase "SadakAllahu'l-Azîm" in the rikaa line at the bottom and the phrase "Rasuluh al-Karim" in the memory are some of the noteworthy features of this tablet.

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Ketebeli, dated 1240 h. (1824).

Size: 60 x 48 cm.

Price: 15,000 TL / $980,400.00

10 Miracles of Prophet Muhammad in Thuluth Calligraphy

1. His shadow has never fallen on the earth.

2. His small stool has never appeared on earth.

3. He has never deviated from truth.

4. He has never had a wet dream. 5. A fly has never landed on him.

6. The eyes would sleep but the heart would not sleep.

7. He could see behind as well as in front. 8. No animal ever ran away from him. 9. He was born circumcised. 10. When he sat in a gathering, he would be seen as bigger and more majestic than everyone else.) written on it. Illuminated with gold leaf and flower motifs.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

One day when I visited the late Emin Bey, he put this plaque, which I think he had just acquired, into my hand, and with a slight smile on his lips he said, “Take a look at this, what do you think?” The inscription wasn’t very special, but when I read the inscription I was stunned: Ketebehu Aziz Han min Âl-i Osman. That is, “Aziz Han from the Osman family.” “This is... this is...” I said, overcoming my hesitation. “Yes,” he said,
“He is the one: Sultan Abdulaziz!” I know that Sultan Aziz was a wrestler, a musician, and had an interest in painting, and that he was also a calligrapher.
I hadn't heard of it, to be honest. It turns out he did! I later came across his other works. Although they are not very beautiful, they look like they were made by a trained hand.

A rare piece of historical value.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

The ketebeli is dated 1291 (1874). It bears the inscription "O beloved of the wise (Hz. Muhammad)" in celî sülüs calligraphy. The border is illuminated in rococo style.

– It is on page 57 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1225 h (1810). In Thuluth calligraphy, it is written about the Prophet Muhammad, "A loyal friend whose morality is blessed and sanctified. A Prophet whose rank is exalted." The marbled border was made by Mustafa Düzgünman.

Size: 44 x 36 cm.

Price: 5,000 TL / $326,800.00

Ketebeli, dated 1324 AH (1906). Inscribed with the Basmala, the characteristics of the Prophet Muhammad, Esma-i Husna and the names of the 4 Caliphs in celi sülüs, riq'a and nesih script. Illuminated with gold rumi motifs in the zerenderzer style by Mimarzade Mehmed Ali Bey in 1327 AH (1909).

Size: 66 x 34 cm.
Price: 35,000 TL / $246,479.00

– It is on page 49 of the book “Calligrapher Aziz Efendi” prepared by Muhittin Serin and published by Kubbealtı Neşriyatı in Istanbul in 1988.

– It will be included in the book “Emin Barın and His Collection” to be published.

Aziz Efendi's hilye-i şerife, a visual feast, inspired by Mustafa Râkım's unique hilye currently in the Turkish and Islamic Arts Museum. A similar one, prepared as a Thuluth-Nasih authorization, is in the Ekrem Hakkı Ayverdi collection of the Kubbealtı Academy Culture and Art Foundation.

Described by Necmeddin Efendi as a "calligrapher from head to toe", Aziz Efendi was a student and follower of Filibeli Bakkal Arif Efendi. He left behind works in the fields of marbling and illumination, as well as panels and stanzas in very original arrangements.

The illumination of this hilya, with its Andalusian air and architectural motifs, belongs to Mimarzâde Mehmed Ali.
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With ketebeli. The Basmala, the names of the 4 Caliphs and the characteristics of the Prophet Muhammad are written in thuluth and naskh script. It was illuminated with various gold motifs in the classical style by Rikkat Kunt in 1978.

Size: 46.5 x 33 cm.

Price: 15,000 TL / $980,400.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

NECMEDDIN OKYAY

He was born in Üsküdar. His father was the Imam of the Üsküdar New Mosque, Mehmet Abdünnebi Efendi. He studied at the Revzai Terakki Rüşdiyesi. He received permission from his teacher Talat Bey to write rik'a, divani, and celi divani. He learned thuluth and naskh from grocer Arif Efendi. He learned marbling and aharcilik (the art of polishing paper). He practiced talik and celi talik from Ustad Sami Efendi and received permission. He learned ink making. He was also interested in archery. This is why his surname is Okyay. After his father's death, he was appointed as an imam and preacher at the Üsküdar New Mosque. He continued this duty for 40 years. In 1914, he continued his education at the Medresetül-Hattati and learned how to draw celi sülüs and tughra from Tuğrakeş İsmail Hakkı Bey. He took marbling art further and made floral and written marblings called "Necmettin Marbling". Necmeddin Okyay was also a master in making and repairing old Turkish bindings. He taught at the Madrasah-al-Hattatin, the Eastern Decorative Arts School and the Fine Arts Academy. His works are in museums and private collections.

– It is included in the book “Turkish Calligraphy Masters 3” prepared by Muhittin Serin and published by Kubbealtı Neşriyatı in Istanbul, p.180.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1371 h (1951). Inscribed in Persian talik script, "The ascetic does not build a mosque for Allah, but decorates his own shop to increase sales. Do not look at the rosary he twirls between his hypocritical fingers. He counts the money of his faith for the sake of the world." Illuminated with various gold motifs by Rikkat Kunt.

Size: 39 x 27.5 cm.

Price: 3,000 TL / $196,000.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1366 (1946) talik calligraphy "If I were the sky, if you were the air. If I took you, breath by breath. If I were time, if you were space. It would be a love that would fill the Walls, bes" (Poem by İsmail Hami Danişmend). The seat part was illuminated with various gold motifs by Rikkat Kunt. The marbled border was made by the calligrapher himself.

Size: 40 x 26 cm.

Price: 3,000 TL / $196,000.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Mehmed Hulûsi Efendi, who practiced many scripts, was able to create many masterpieces worthy of his teacher in the celi ta'liq he learned from Sami Efendi. When speaking of Hulûsi Efendi, Uğur Derman uses the expression, "With his identity that cannot be doubted as one of Allah's hidden saints..." Indeed, many calligraphers have written the phrase Ya Hazret-i Mevlana, but isn't there a sense of sincerity that surpasses all others in this tablet of the Mevlevi dervish Hulûsi Efendi?

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HULUSI YAZGAN

Hulusi Efendi from Istanbul was one of the famous talik masters of his time. He learned thuluth and naskh scripts from Muhsinzade Abdullah Bey. He learned talik lessons from Karinabatlı Hasan Hüsnü Efendi, the copyist of the Fetvahane, and from Çarşambalı Arif Bey. However, his real master was Sami Efendi.

Hulusi Efendi was the calligraphy teacher at Darüşşafaka Primary School. Then he became the talik and celi talik teacher at the Medrese-tül Hattatin. He continued this duty until 1928.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1353 (1934). "My God, help comes from you" is written in celî talik script. Marbled border.

– It will be included in the book “Emin Barın and His Collection” to be published.

There are some stacks that conquer people at a glance.
This tablet of Divine help, which the late Şevket Rado included in his book with the subtitle “An unseen writing of Hulûsi Efendi”, has been like that for me.

This work, which in terms of its arrangement resembles the 1934 Hû tablet that was once in the collection of the late Abdülbâki Gölpınarlı, dates back to the last days of the life of the great master of ta'lîk calligraphy, Hulûsi Efendi. This tablet, which prays to God to save him and take him with him during those painful years that he spent in misery and illness, is heartbreaking, but it never fails to bring a smile to the face of the viewer.

Since the date of the tablet is 1356 (1937), Hulûsi Efendi's prayer will be accepted soon.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

KEMAL BATANAY

He was born in Istanbul. He completed his primary, secondary and high school education. He became a hafiz by memorizing the Quran at the age of fourteen. He attended the Theology department for a while.

He learned Talik script by taking lessons from the calligrapher Hulusi Efendi. He received his ijazah from him in 1918. Kemal Batanay also had a vast knowledge of music.

He played the tambour. He would occasionally be with Rauf Yekta and Suphi Ezgi Bey. He attended Mevlevi lodges and dervish lodges and learned hymns and rituals.

He benefited from the knowledge of calligrapher Neyzen Emin Efendi on music and calligraphy.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Talik script is not suitable for stacking. There were those who tried to create stacks by extending individual letters and stacking them on top of each other, but the result was often not satisfactory.

Yesârîzâde Mustafa İzzet Efendi is an exception to this. Together with his father Mehmed Esad Yesârî, who is considered the beginning of the Ottoman ta'lîk, he went much further than him in celî ta'lîk and created magnificent works, while also being able to create impressive collections.

On this zerandûd tablet there is an Arabic phrase meaning "This is from the grace of my Lord" which was also written by many other calligraphers.

ICS

Ketebeli, dated 1237 (1821). The Kalima-i Tawhid is written in celi talik script on a cobalt blue background. The border is illuminated with gold leaves and flower motifs.

– It will be included in the book “Emin Barın and His Collection” to be published.

YESARİZADE MUSTAFA İZZET

He was born in Istanbul. He is the son of the famous Talik master Mehmet Esat Yesari. For this reason, he is known as Yesarizade. He learned Talik from his father and received his permission from him. Although he did not become a professor or judge, he was given the titles of Mecca, Istanbul and Anatolia Kazasker in accordance with the customs of the time. Then, he was appointed to Anatolia in 1839 and to Rumeli Kazasker in 1846. He became the Minister of Takvimhane (State Printing House) in 1842. He managed the Matbaa-i Amire and had letters cast in his own Talik script. The first book in Talik script was printed in the Matbaa-i Amire during his time. Yesarizade trained many calligraphers. Kazasker Mustafa İzzed, Abdülfettah Efendi and Ali Haydar Bey were among his students. Yesarizade was also interested in music. One of his closest friends was İzzet Molla, one of the scholars of the period.

– It will be included in the book “Emin Barın and His Collection” to be published.

Prepared as a zerendud on a blue background with the celî sülüs script of Mehmed Hulûsi
The tablet of the Seven Sleepers (or Ashab-i Kahf).

While Rome was still a pagan, the story of the seven young men and their dogs who took refuge in a cave to escape from the cruel ruler because they believed in the unity of God, fell asleep and woke up years later to find that Rome had accepted Christianity is briefly mentioned in the Quran (Kehf 18/9-26).

However, their names are not written there and they have taken various forms among the people. The ones seen here are the most common forms in Türkiye: Yemlîhâ, Mekselîna, Meslînâ, Mernûş, Debernûş, Şâzenûş, Kefeştatayyuş, Kıtmîr.

These names are probably of Roman origin: for example, Kefeştatayyuş from Constantinus, Mekselînâ from Maximilianus.

ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

KAMİL AKDİK

He was born in Istanbul. He learned thuluth and nesih calligraphy from Sami Efendi and received his diploma. In 1909, he became the Imperial Palace Pen distinguisher and calligraphy teacher. In 1914, he became the thuluth and nesih teacher of the Medrese-tül Hattatiyn, and the rik'a teacher of the Galatasaray Sultani in 1918. He was awarded the title of "Reis-ül Hattatiyn" by Sultan Mehmed V Reşad.
In 1940, he wrote the dome and sash inscriptions of the mosque built by Prince Tevfik Pasha in Cairo.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

MEHMED SEFIK

He learned the script from Ali Vasfi Efendi. He worked as a teacher for a while. He was sent to Chios by Abdulmecid. He restored the damaged scripts of Bursa Ulu Mosque and added new scripts. He rose to the highest ranks in thuluth, naskh, celi divani scripts and merit.

– It will be included in the book “Emin Barın and His Collection” to be published.

MEHMED NAZIF

He is from Rusçuk. He came to Istanbul and first took lessons from Burdurlu Hafız Vahdeti and then from the calligrapher Sami. While working as a calligrapher in the Military Cartography Department, he also gave calligraphy lessons in schools.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is on p. 9 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

Another very beautiful plate by Mahmud Celâleddin. In the first line there is a Besmele, and in the second line there is a verse in the thuluth: And indeed you are of a great character (Qalam Surah 68/4). Although thuluth is a more cyclical script than muhakkak, here the vav mursel, mim muhaffef are written, and the letters kef, ye and kaf are given a little kashî to ensure the harmony of the second line with the first.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli. In Arabic, with celî sülüs calligraphy, the age of the Prophet Muhammad, his life in Mecca and Medina, and the duration of his prophethood are written. The marbled border was made by Mustafa Düzgünman.

Size: 60 x 46 cm.

Price: 0.000 TL / $1.307.200,00

– It will be included in the book “Emin Barın and His Collection” to be published.

Mahmud Celaleddin is an exception in the world of calligraphy, where the master-apprentice relationship is dominant and the discipline of practice and certification is never abandoned. Not only did he educate himself, he was able to imitate the works of the masters so perfectly that they could not be distinguished from the originals, and he also managed to create his own style that could be recognized at a glance from afar.

This exquisite plaque was the first piece seen when entering the office of the late Emin Barın, as it hung behind his desk. I remember him telling me how it was shattered into pieces when he received it, and how much effort he put into restoring it to its current state. It is proof of his skill in restoration.

This celi sülüs tablet, which gives the life of the Prophet, the period of his prophethood, and the number of years he spent in Mecca and Medina in ebced calculation, is one of the most beautiful works of Mahmud Celaleddin in his own style.

ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

A very beautiful celi-muhakkak Basmala by Mehmed Nazif Bey, one of the greatest calligraphers of the last period who produced great calligraphers.
Nazif Bey, a student of Vahdeti and Sami Efendi, particularly shone in celi script, and sometimes even preferred to write the Thuluth-Naskh script in large sizes. Sami Efendi used to say that Allah created Nazif for writing. Is there anyone who disagrees?
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1292 (1875). Inscribed in celî sülüs calligraphy, “Oh Lord, do not make me needy. If I am needy, let me be needy only of You.” Illuminated with various gold motifs by Rikkat Kunt. The marbled border was made by Mustafa Düzgünman.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1334 (1915). Inscribed with "May Allah protect you in both worlds" in celi sülüs stacked calligraphy. Illuminated with various gold motifs by Rikkat Kunt. The marbled border was made by Mustafa Düzgünman.

Size: 30 x 35 cm.

Price: 4,000 TL / $261,400.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

The ketebeli is dated 1202 h (1787). It is inscribed with celi thuluth calligraphy, "Ya Hazret-i Saad bin Abi Waqqas Radiyallahu anhu". The border is ruled in gold.

Size: 36 x 27 cm.

Price: 7,000 TL / $457,500.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated h.1273 (1856). In celi sülüs calligraphy, it is written, “That distinguished Prophet is a mercy to the worlds. The earth boasts to the heavens because ‘I am lying there.’ The angel Gabriel visited his grave and said, ‘This is the Paradise of Eden; enter there, you who are immortal.” The marbled border was made by Mustafa Düzgünman.

Size: 66 x 66 cm.

Price: 14,000 TL / $915,000.00

– It is included in the book “Masterpieces of Turkish Calligraphy”, no.28, prepared by Uğur Derman and published in Istanbul by the Ministry of Culture Publications in 1982.

– It will be included in the book “Emin Barın and His Collection” to be published.

This masterpiece celî sülüs panel by Kazasker Mustafa İzzed Efendi, a calligrapher, scholar, composer and ney player who was one of the cultural monuments of the nineteenth-century Ottoman society, consists of the following poem, the poet of which is unknown, which has inspired many other calligraphers:

The last line of the poem, which states that the earth is proud of the heavens because the Prophet is buried in it, is in Arabic. Although it is not a verse, it is based on verses such as Tövbe 9/72, Ta-ha 20/76, Beyyine 98/8. This plate, which is more prose than composition, draws attention with the agility of its letters and heralds the style of great calligraphers who would follow in the footsteps of Kazasker, such as Şefik Bey and Çırçırlı Ali Efendi.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is on page 56 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

Dated 1341 h (1922). The Basmala and the first verses of the Surah Al-Fath are written in celi sülüs and naskh musanna calligraphy.

Size: 65 x 56 cm.

Price: 2,000 TL / $130,700.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

A beautiful stanza in thuluth-nesih, bearing the unique signature of Mustafa Râkım, one of the greatest calligraphers of all time. Uğur Derman says that the beauty of letters in Şeyh Hamdullah and the skill of stacking in Ahmed Karahisârî are combined in Mustafa Râkım. Although there is no real stacking in this stanza, the harmony in the distribution of ayın, elif and mim-sin pairs in the thuluth line should be attributed to the exceptional eye of Râkım Efendi, who also received training in painting.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli. Hadith Sharifs are written in thuluth and naskh calligraphy. The seat parts are illuminated with various gold motifs in rococo style.

Size: 37 x 25cm

Price: 3,000 TL / $196,000.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Size: 17.5 x 25 cm.

Price: 2,000 TL / $130,700.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Written in Ivanî script to an unidentified sultan from his brother about the "delivery of his fief and fief revenues". The seat is illuminated with gold motifs in the classical style. 19th century.

Size: 37 x 30 cm.

Price: 4,000 TL / $261,400.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Most of the sultans learned some calligraphy as part of their education, but there were three among them who deserved to be called calligraphers: Ahmed III, Mahmud II, and Abdulmecid. Sultan Abdulmecid, who studied with Tahir Efendi, Mahmud Celaleddin's leading student, adopted their style in particular in his celi writing. The rococo illumination of this thuluth-nesih inscription, signed as usual as ketebehu Abdulmecid bin Mahmud Han, remained unfinished. Who knows why?
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SULTAN ABDULMEJID

The reign of Sultan Abdülmecid, who had a forward view, was quite eventful with the declaration of Tanzimat. In his time, a significant number of mosque repairs were made and some new mosques were built. The Encümeni Daniş (Academy) and many civil and military schools were also established during his time. Sultan Abdülmecid knew French very well. He studied Western music. He had a great interest in calligraphy. He wrote in nesih, thuluth, celi and rik'a on the path of Mahmud Celâleddin. He learned thuluth and celi calligraphy from Mahmud Celâleddin's best student, Tahir Efendi. Thuluth-nesih stanzas and zerendud panels decorate many mosques and museums. The panels in the Dolmabahçe and Ortaköy Mosques built during his time also belong to Sultan Abdülmecid.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

It is illuminated with halkar and rumi motifs in gold and various colors.

Size: 54 x 36 cm.

Price: 5,000 TL / $326,800.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1319 (1901). The tughra was drawn in garnet ink. The border is emerald.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ismail Hakki Bey learned how to draw a tughra from Muhtar and Sami Efendi at the Sublime Porte Divan-i Humayun clerkship in 1890. He first became the Second and then the First Tugrakesh at the Sublime Porte, and from that day on he was known as Tugrakesh Ismail Hakki Bey. It could be right to say that the Sultan II. Abdulhamid tughra, seen here in its final state as revived by Sami Efendi, is an aesthetic and mathematical marvel. All the movements of the pen and the flow of the ink are clearly visible, which also gives the work the quality of a historical document.

ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated h.1367 (1947). Inscribed in talik calligraphy, "Oh Lord, what would be lost from the sea of ​​Your glory? If the body were not filled with poison! I would be free from the anger of pain and sorrow, If only I had not come to the age, if only I had not had a mind" (poem by Ziya Pasha). The marbled border was made by Necmeddin Okyay.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Mehmed Es'ad Yesari, who founded the Ottoman ta'liq school, occupies a special place in the history of calligraphy for this reason. Yesari's celi works were mostly processed by the illuminators as zerandud from molds. However, this Ya Hazret-i Mevlana tablet is the work of the great calligrapher and the flow of ink clearly shows how the letters were shaped by the pen.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

A celî ta'lîk tablet was ordered to be presented to Necmeddin Efendi on the occasion of the donation of his library to Istanbul University by the last Ottoman intellectual, İbnülemin Mahmud Kemal İnal. The tablet, which contains the hadith, "The highest of ranks is the rank of knowledge", is today in Istanbul University with the rest of İbnülemin's collection. This is a second copy of the tablet, also made by Necmeddin Efendi.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

Written marbling, the first examples of which date back to the seventeenth century, was revived by Hezarfen Necmeddin Efendi in the 1920s. Necmeddin Efendi, who first cut paper to make molds and then wrote directly on the paper to be marbled with Arabic glue to prevent paint from sticking, has only a limited number of works made in this way that have survived to the present day. The interesting aspect of the two works in the Barın collection is that they do not bear religious inscriptions but institutional names.
ICS

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is included in the book “Turkish Calligraphy Masters 3” prepared by Muhittin Serin and published by Kubbealtı Neşriyatı in Istanbul, p.187.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

SADI DOCUMENT

Dr. Sadi Belger was born in Istanbul. He graduated from Istanbul High School in 1934 and from Istanbul Faculty of Medicine in 1940. He completed his education at Haydarpaşa Numune Hospital in 1948 and received the title of surgeon. He lived and worked in Paris in 1950-51. He became the Chief of the Surgery Clinic of Vakıf Guraba Hospital in 1954. Dr. Sadi Belger had a great interest and talent in art. He fell in love with calligraphy. He became friends with the famous calligrapher of the period, Halim Özyazıcı, who came to him for treatment and took talik lessons from him. After Halim Bey's death, he continued to take lessons from the famous calligrapher Necmeddin Okyay and received his diploma in 1963. Dr. Sadi Belger wrote many kıta and celi talik plates and albums.

Ketebeli, dated 1388 (1968). In celi muhakkak, celi thuluth and naskh scripts, the Basmala, the characteristics of the Prophet Muhammad and the names of the four Caliphs are written. Illuminated in gold in the classical style by Rikkat Kunt.

Size: 77 x 51 cm.

Price: 18,000 TL / $1,176,500.00

– It is included in the book “Turkish Calligraphers” prepared by Şevket Rado, p.269.

– It will be included in the book “Emin Barın and His Collection” to be published.

With a colophon. The Basmala, the characteristics of the Prophet Muhammad and the names of the 4 Caliphs are written in Thuluth and Naskh script. The border is illuminated with gold in the Halkar style.

Size: 56 x 34 cm.

Price: 10,000 TL / $653,600.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1219 h (1804). In celi sülüs and nesih calligraphy, the Basmala, Allah, Muhammad, the Kalima-i Tawhid, the names of the 4 Caliphs and the Companions of the Cave, and the characteristics of the Prophet Muhammad are written. With a silver-plated frame.

– It is on page 56 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

When we say Hilye, a familiar shape comes to mind: Basmala at the top, navel below, four caliphs at the four corners, sash in the middle...
But of course not all hilyes are like this. Here is a Hilye-i Saadet by Aliyü'l-Vasfi in a completely different form. The usual text of the hilye, a part of the naskh script in the background. There are other things, such as the names of the Companions of the Cave. The jali sülüs scripts in the foreground are Ism-i Celâl, Ism-i Nebî, and also the Khulafa-yi Rashidîn. The names are interestingly superimposed, for example, the names of Ömer, Osman and Ali share the same letter of the month, the name of Abu Bakr is written with a single ba used twice, etc. Many calligraphers have written this arrangement; it is even seen in some other hilyes.
ICS

ALIYYU'L QUALIFICATION

He was a very valuable calligrapher, one of the students of Ömer Vasfi Efendi, known as Laz Ömer. He was a calligraphy teacher at Galatasaray. He also gave writing lessons to those who wanted. He wrote many murakka and stanzas.

Ketebeli, dated 1010 h (1601). Hilye of Ashab-ı Kehf written in thuluth and nesih script in the form of Hilye-i Sharif. Illuminated with gold leaf and flower motifs.

Size: 37 x 28cm.

Price: 5,000 TL / $326,800.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is included in the book “Calligraphy and Famous Calligraphers” prepared by Muhittin Serin and published by Kubbealtı Publications in Istanbul, p.190.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1262 h (1845). In Müsenna celi sülüs and nesih calligraphy, the Basmala, the names of the 4 Caliphs, the characteristics of Hz. Muhammad and the Surah of Conquest are written. On both sides, the names Esma-ü Husna and Esma-ü Nebi are written, stacked in the shape of a cypress. The interior is illuminated with various gold flower motifs and the border is in rococo style.

Size: 51 x 43 cm.

Price: 10,000 TL / $653,600.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1222 h (1807). In thuluth and naskh calligraphy, the Basmala, the characteristics of the Prophet Muhammad and the names of the 4 Caliphs are written. The seat parts are marbled, and the border is emerald.

Size: 42 x 34.5 cm.

Price: 8,000 TL / $522,900.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli. On a black background, in celi sülüs calligraphy, it is written, "That distinguished Prophet is a mercy to the worlds. (He lies in me) the earth boasts against the heavens. The angel Gabriel visited his grave and said: (This is the Paradise of Eden; immortals, enter there)". The border is illuminated in the rococo style.

– It will be included in the book “Emin Barın and His Collection” to be published.

SULTAN MAHMUD II

Sultan Mahmud II was closely interested in fine arts and western culture. He worked to reform the education organization. He brought teachers from Europe. Like the Harbiye and Bahriye schools, the Meclis Valay-ı Ahkam-ı Adliye and Şûra-yı-Askeri were also established during his time. Sultan Mahmud II, who was interested in calligraphy, was a master at writing in a style that everyone could understand. Sultan Mahmud II worked on nesih, sülüs and especially celi sülüs. He first took lessons from Kebecizade Mehmed Vasfi and then from Mustafa Rakım Efendi. Some of his writings were meticulously corrected by Rakım Efendi. They were made by the craftsmen of the period in relief with the malakari technique on a black, naphtha, blue and fez colored background with gold leaf and hung on monuments in various cities of the empire. There are examples of Sultan Mahmud II's writings in the Topkapı Palace Library, Sakıp Sabancı Museum and Özer collections.

Ketebeli, dated 1284 (1867). On a black background, in celî sülüs calligraphy, it says “Allah, Celle celâluhû Muhammed Aleyhisselam, Abu Bakr, Omar, Osman, Ali, Hasan, Hüseyin, Fatima”. Illuminated in rococo style by Hüseyin Hüsnü.

Size: 64 x 59 cm.

Price: 15,000 TL / $980,400.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Reisü'l-hattâtîn Muhsinzâde Seyyid Abdullah Bey was a student of Kazasker Mustafa İzzed Efendi and one of the master calligraphers and teachers of the last period. This celî sülüs tablet, which was processed as Zerendud, contains a hadith that emphasizes the necessity of worshipping Allah until the moment of death. However, while the text originally used the third person, it was changed to the second person here, thus creating a phrase that directly addresses the reader of the tablet and advises him not to refrain from worshipping.
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MUHSINZADE ABDULLAH

He was born in Kuruçeşme, Istanbul. He was Kazasker’s most popular student after Şefik Bey. He entered the Kapı Ağası school in Beşiktaş at the age of eleven. He received his diploma by learning thuluth and nesih from Hafız Mehmed Efendi. Then he became an apprentice to Kazasker. He never left Kazasker’s side until his death, together with Şefik Bey. He was given the title of “Reisülhattatin” by the Sultan. As a calligrapher, he knew all the subtleties of writing. He was also interested in music.

– It will be included in the book “Emin Barın and His Collection” to be published.

Selma Hanım, the daughter of Grand Vizier Ali Pasha, received an education worthy of her father's position, and in the meantime, she received the ta'liq license from Kazasker Mustafa Izzed Efendi, the great calligrapher of the time.

This zerendûd celi tablet, on which the names Ali and Fatima are written and of which I have a copy, is undoubtedly Selmâ Hanım’s masterpiece. The shapes of the individual letters, their placement on the line, and the simple yet noble composition of the tablet are of exceptional beauty and bear the traces of İzzet Efendi. Even the colophon of the tablet presents a particularly elegant appearance, with its slight curve that almost expresses the “hanging” meaning of the word ta’lîk.
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SELMA BINTI ALI PASHA

She was born in Istanbul. Her father was the famous Grand Vizier Ali Pasha. Selma Hanım, her interest in calligraphy
He took lessons and permission from Kazasker Mustafa Izzed Efendi because he was a religious scholar. There is an inscription above the window of the tomb of Sheikh Vefa.

– It will be included in the book “Emin Barın and His Collection” to be published.

ABDULFETTAH EFFENDI

He was brought up under the protection of Hüsrev Pasha and was educated. He learned Arabic and Persian. He studied arithmetic and geometry. He practiced the Thuluth, Celi, Nesih, Talik, Divani and Rık scripts. He learned the Thuluth and Nesih scripts from Mustafa Şakir Efendi, and in 1832 he practiced Talik from Yesarizade, and received his ijazah in 1846.

He entered the Office of the Grand Vizier in 1839. He rose through the ranks and worked in the Sivas, Amasya Foundations Directorates and the Kastamonu Revenue Directorates. He became a Coin Painter in 1857. In 1860, he was sent to Vienna and Paris to learn how to make watermarks.

Abdülfettah Efendi held high-ranking positions in the Ottoman Empire and received decorations for his success.
He was a master of Thuluth, Celi and Talik. The inscriptions in many mosques in Istanbul and the Ulu Mosque in Bursa belong to him. He also wrote the inscriptions in two mosques in Edirne, the inscriptions in the Suleymaniye Mosque, the inscriptions in the Bayezid Mosque, and the interior and exterior inscriptions of Bab-ı Hümayun. There is also a large plaque of him in the Topkapi Palace Museum.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1308 (1890). "Only Allah provides sustenance" is written in celî sülüs calligraphy on a black background. Illuminated with various gold motifs in the Rococo style.

Size: 44 x 36cm

Price: 5,000 TL / $326,800.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It is on page 56 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Sivaslı Mehmed Nuri Efendi’s specialty is to fill the inside of the celi scripts with tiny writings called gubari, or “dust” writing, using patterns extracted from the writings of other calligraphers. He also used colored ink here and there, and produced very attractive works. In this plate, a ta’liq Basmala, probably belonging to Necmeddin or Hulûsi Efendi, was filled with gubari writing using four different colors of ink. The constant density of the gubari writings throughout the plate is a result of the calligrapher’s skill.

According to what Uğur Derman reported from his teacher Necmeddin Efendi, Sami Efendi came to the Üsküdar Yeni Valide Mosque for prayer time in 1910. Nuri Efendi, who was in the mosque at the time, introduced him to him, showed him the works he had with him, and then asked for his opinion. Sami Efendi, who was famous for his outspokenness, replied: You can't write without going crazy!
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With the signature of Sultan Mehmed IV (1648 - 1687). Dated 1086 h. (1675).

Size: 130 x 56 cm.

Price: 35,000 TL / $246,479.00

Its monogram, drawn in black ink, is illuminated with golden flower motifs.
Written in Edirne in celi divanî script using gold, garnet, green and soot ink. About “Yusuf, the governor of the 53,000 silver coins of the Öyük hamlet near the Boyabad district of the Ruha (Urfa) district, has voluntarily given up on this fief, and the transfer of this fief to the tall, light-browed, hazel-eyed Mahmud.” 6 lines.

– It will be included in the book “Emin Barın and His Collection” to be published.

With the signature of Sultan Abdülmecid (1839 - 1861). Dated 1277 h. (1860).

Size: 155 x 75 cm.

Price: 50,000 TL / $3,268,000.00

Written by Nasıh Efendi, the title writer of the Divan-ı Hümayun. Its monogram drawn with zer-ink was illuminated with gold floral and plant motifs by Rikkat Kunt. Written in Istanbul in celi divani script using isot ink and zer-ink. About the “assignment of the Governorship of Bosnia with the rank of superintendent to Şerif Osman Pasha, one of the dignitaries of the Rumelia Beylerbeylik”. 13 lines.

– The tughra of the menşur was made by Rikkat Kunt in the 1970s upon the request of Emin Barın.

– It will be included in the book “Emin Barın and His Collection” to be published.

With the signature of Sultan Abdülmecid (1839 - 1861). Dated 1270 (1853).

Size: 94 x 70 cm.

Price: 8,000 TL / $522,900.00

Its tughra was drawn with black ink. It was written in Istanbul using soot ink and in tevki calligraphy. About “The appointment of the Minister of Foreign Affairs, former Grand Vizier Mustafa Reşid Pasha, who holds the Medjidie Medal of the First Class, as the delegate with full authority for the agreement to be concluded with Russia, England and France.” 10 lines.

The marbled border was made upon Emin Barın's request.

– It will be included in the book “Emin Barın and His Collection” to be published.

Sultan II. Abdulhamid (1876 - 1909) signature. Dated 1320 (1902).

Size: 154 x 82cm.

Price: 40,000 TL / $2,614,400.00

Its tughra was drawn with zerendud. Written in Istanbul with celi divanî calligraphy using gold and soot ink. About the “Granting of the rank of vizier to Celâl Pasha, who holds the Murassa Mecidi and First Rank Ottoman medals.” 7 lines.

– It will be included in the book “Emin Barın and His Collection” to be published.

Without colophon. In 3 different places of the muraqqa, there is the seal of approval belonging to Mehmed Bahaaddin indicating that the work belongs to Sheikh Hamdullah. Hadith-i Sharifs, Hz. Ali's words about loyalty and repentance, Plato's words about reason, wise words of Luqman, Ibrahim bin Ethem and Socrates are written in thuluth and naskh calligraphy. Illuminated with various motifs in gold and cobalt blue in classical style. The inside of the cover and the backs of the pages are marbled. The leather binding of the period is decorated with gold geometric patterns. 6 pages.

Size: 19 x 19 x 0.5 cm.

Price: 20,000 TL / $1,307,200.00

– It will be included in the book “Emin Barın and His Collection” to be published.

The muhakkak script from Aklâm-ı sitte was used very little after the sixteenth century. However, one area where it has continued to be used to this day is in writing the Basmala. Here is a beautiful Basmala written in muhakkak script by Tuğrakeş İsmail Hakkı Bey. The tablet is without a colophon, but a student of Hakkı Bey confirmed that the work belongs to his teacher with the writing underneath.
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– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Literature lovers will certainly remember Fuzûlî's famous stanza:

Knowledge is the reward of the pleasure of acquiring it Desire is impossible but Love is everything in the world Knowledge is a kiyl and kaal but Kamil Efendi, who wrote the last two lines of this beautiful poem in a strong thuluth, perhaps wanted to share with us his diagnosis of the sad state of our world. A mosquito reed for those who understand...ICS

– It is on page 31 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It will be included in the book “Emin Barın and His Collection” to be published.

NURI KORMAN (HACI NURI EFENDI FROM BEŞİKTAŞ)

He was born in Ortaköy, Istanbul. He became famous as a “Beşiktaşlı” because he was brought to Beşiktaş when he was forty days old and lived there until the end of his life. After the Elementary School in Beşiktaş, he finished the Rüştiye School there. He continued to work as a clerk at the Court of Appeals. He learned Thuluth and Naskh from Taliki Zeki Dede and from Alaeddin Bey. When Alaeddin Bey passed away, he continued to take lessons from Muhsinzade Abdullah Bey. After attending twice a week for 18 years, he received his diploma. He admired Muhsinzade Nuri Efendi very much as a calligrapher. He used to say, “He is the one who will keep my name alive.”

Hacı Nuri Efendi was a thuluth and naskh teacher at Mektebi Hamidi in Beşiktaş. Then he became the chief calligrapher of Matbaa-i Amire. He stayed in Egypt for one and a half years and taught calligraphy there. When he returned to Istanbul, he was appointed as a thuluth and naskh teacher at Medrese-tül Hattatin. After the alphabet reform, he also taught calligraphy at the Academy of Fine Arts. He was also interested in religious music. He also had some compositions. Hacı Nuri Efendi wrote the Quran, Evrad, Hilye-i Şerif, prayer books and tablets. The inscriptions in the Şaban-ı Veli Dervish Lodge in Kastamonu and on the dome of the Kartaltepe Mosque in Bakırköy belong to him.

The ketebeli is dated h.1307 (1889). It has the inscription “Ya Hazret-i Pir Sultan Sümbül Sinan Kaddes Allahu Sirruhu” in celi sülüs calligraphy. The border is marbled.

Size: 60 x 55 cm.

Price: 7,000 TL / $457,500.00

– It will be included in the book “Emin Barın and His Collection” to be published.

“WEDNESDAY” ARIF

He was born in Istanbul. He became famous as “Çarşambalı” because he lived in the neighborhood called “Çarşamba”, just beyond Fatih Mosque. He entered the Mektuni Kalemi of the Ministry of Finance at a young age and worked there. He learned thuluth and naskh from Haşim Efendi. Taliki first learned from Sami Efendi and together with Kıbrısızade Hakkı Efendi, and then from Melek Paşa’s grandson Ali Haydar Bey. Çarşambalı Arif Bey and Sami Efendi were very good friends. He also spent a lot of time and effort on celi script, like Sami Efendi. Hacı Arif Bey, who was also interested in stacking in thuluth, created masterpieces in the mirrored script called “Hattı Müsenna”. He wrote the plaques in Üsküdar Selimiye and Rum Mehmet Paşa Mosques himself. An inscription in Gedik Paşa Mosque and the inscription at the entrance to the courtyard of Aksaray-Valide Mosque belong to Çarşambalı Arif.

Ketebeli. Inscribed in celî sülüs calligraphy as the declaration of Jesus Christ, "(I have come) with the glad tidings of a prophet named Ahmed who will come after me." The interior was illuminated with golden rumi motifs and the border in rococo style by Bahaddin Efendi.

Size: 46 x 39 cm.

Price: 6,000 TL / $392,200.00

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1297 (1879). "Inscriptions regarding the Companions of the Cave" written in Thuluth calligraphy. Border with emerald green.

Size: 59 x 46 cm.

Price: 5,000 TL / $326,800.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Şefik Bey's student, İbrahim Alaaddin, has truly imitated one of his teacher's Thuluth tablets in a way worthy of him. The names given to the heroes of the story of the Seven Sleepers, also known as the Companions of the Cave, mentioned in the Surah Kahf (18/9-26) of the Holy Quran, were very much believed in in Ottoman society.
This poem, written by many calligraphers in the nineteenth century, tells of these seven young men and their dogs who were tortured because they believed in the unity of God:

He heard the secret of love, Yemlîhâ became red and white, Mekselînâ became the companion of the tomb of the deceased, They offered the wine of unity to Meslînâ, Mernûş and Debernûş drank in harmony, It turned out that Şâzenûş had remained in Cur, It turned out that the glass of Kefeştatayyûş had become a beggar, Even Kıtmir was left empty, What a beautiful motif that Kıtmir had drunk the last few drops of the wine of unity...

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

With a chevron. "The generous one is the one who forgives when he has the power" written in celî sülüs calligraphy. Illuminated with various gold motifs by Rikkat Kunt.

Size: 29 x 26.5 cm.

Price: 4,000 TL / $261,400.00

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1258 (1842). "This is from my Lord's grace to me" is written in celî sülüs calligraphy. The border is illuminated with gold leaf and flower motifs on a burgundy background.

– It will be included in the book “Emin Barın and His Collection” to be published.

Mehmed Şefik Bey is one of the greatest calligraphers of the line extending from Kazasker Mustafa İzzed Efendi to Mâcid Ayral, whose thuluth-nesih and celi styles are dazzling. He has created unprecedented collections and even produced works in the style of calligraphy and painting.

In this very beautiful arrangement, there is the Arabic phrase, which means "This is from the grace of my Lord" and which many calligraphers have written in different ways. For example, it is customary to say it after a meal.

The elegance of the combination of the nun of min with the dad of fazl, the gathering of the capital letters on the right and the letters with alif on the left, the parallelism of the beginnings of ra and ba in Rabbi, the keşîde in hazâ forming the base of the stack, are all elements that give beauty to this stack.
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With ketebe. "Ali, Fatma" written in celî sülüs calligraphy. Illuminated with gold flower motifs.

– It will be included in the book “Emin Barın and His Collection” to be published.

– It will be included in the book “Emin Barın and His Collection” to be published.

Su'ud Bey, the grandson of the calligrapher Vahdeti, the student of Beşiktaş'lı Nuri, Muhsinzade Abdullah, Kamil Akdik, Sami Efendi and Tuğrakeş İsmail Hakkı, was, in the words of İbnülemin Mahmud Kemal İnal, "skilled in thuluth, celi and divani scripts."

After becoming a member of the Mevlevi order, Su'ud Bey, who used the Su'udü'l-Mevlevi kebebe, placed the word Dost above the phrase Ya Hazret-i Mevlana. In phrases that include the word Allah, it is customary to place this name at the top of the stack out of respect. Since the Only Friend among the people of Sufism is Allah, Su'ud Bey's writing the word Dost at the top here can be considered a manifestation of this custom.
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– It will be included in the book “Emin Barın and His Collection” to be published.

SAUDI AL-MAWLAWI

He was born in Istanbul. Mehmed Suud Bey was the son of Rıza Safvet Bey, the distinguished person in the Divani Imperial Well Room, and the grandson of the calligrapher Vahdeti. He studied at the Hamidiye School in Beşiktaş. He received his Shahadatname. He learned Arabic and Persian from his father and his father's friends. He entered the Divani Imperial Important Writing Office in 1899. He learned Thuluth and Naskh from his father and Nuri Korman. He learned Divani from Kamil Efendi; and Celi Divani from Sami Efendi. He received his ijazah from Tuğrakeş İsmail Hakkı Bey.

– It will be included in the book “Emin Barın and His Collection” to be published.

Ketebeli, dated 1336 h (1917). Written in Arabic in Thuluth calligraphy, narrated by Sheikh Hamdullah. Illuminated with various gold motifs by Cahide Keskiner.

Size: 34 x 26.5 cm.

Price: 5,000 TL / $326,800.00

– It will be included in the book “Emin Barın and His Collection” to be published.

a. Ivory case in cylindrical form.

b. Gold-inlaid calligrapher's scissors decorated with stylized plant motifs.

c . Five of the cuts are ivory, one is inlaid with gold.
Two of the ivory makhats are decorated with Mevlevi coins.
The gold inlaid motifs are stylized pine trees.

a. Pencil sharpener handles are bone, herringbone, wood and gold inlaid. The motifs of the gold inlaid pencil sharpener are faint.

b. Two of the pencils have been sharpened.

“Allah” is written in Kufic calligraphy.

– It is on page 112 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

EMIN BARIN

He was born in Bolu in 1913. His father was calligrapher, illuminator and bookbinder Hafız Mehmed Tevfik Efendi. After graduating from Istanbul Teachers' School for Boys in 1932, he started working as a teacher at the primary school in the village of Berk in Bolu. In 1934, he entered the Department of Painting at the Ankara Gazi Education Institute and passed the European specialization exam held by the Publications Directorate of the Presidency of National Education. In 1937, he did an internship at the Istanbul National Education Printing House for 6 months. At the same time, he received calligraphy lessons from Reisü'l-Calligrapher Kamil Akdik at the Turkish Ornament Department of the Academy of Fine Arts and information about classical Turkish bookbinding from Necmeddin Okyay. He went to Germany the same year. He worked for one year at Prof. Dorfner's private art bookbinding school in Weimar. His Olympic book won first prize at the Hamburg book exhibition. His works were published in the magazine Deutsche Bucheinbandkunst. In 1939, he entered the Leipzig Book and Printing Academy (Akademie für Künste und Buch gewerbe). He continued his writing studies with Prof. Thiemann and Prof. Spemann at the Academy and his bookbinding studies with Prof. Wiemeler. When he returned home for vacation, he began his military service due to World War II. In 1941, he returned to Leipzig to complete his specialization. He fulfilled special bookbinding orders given by the German government. He completed his specialization 2 years later and returned home. He started working as the technical office manager at the National Education Printing House. In the same year, he opened his first major writing and bookbinding exhibition at the Academy of Fine Arts, which was opened by the Minister of National Education Hasan-Âli Yücel, together with Prof. Kenan Temizyan. The luxurious pergament-bound gold notebook he made was presented to President İsmet İnönü by the Academy. After the exhibition, he became a faculty member at the Academy's Decorative Arts Department. He married Necla Hanım in 1944. In 1946, he was commissioned by the Ministry of National Education to write inscriptions for coins. In 1949, he began his work on the Fatih Divan, organized in the traditional Turkish arts style for the 500th Conquest Anniversary of Istanbul. In 1951, he prepared 10 large inscriptions for important historical sites in Istanbul such as Eyüp Sultan, Galata Tower, and Topkapı for the anniversary of the conquest of Istanbul. He wrote the speech Atatürk gave in Istanbul, which is located in Dolmabahçe Palace. He began his Anıtkabir inscriptions. He prepared the inscriptions for Atatürk's address to the youth, which was carved in relief on both sides of the mausoleum entrance, and the 10th Year Speech. In 1953, he prepared the sash and inscriptions for the 10 towers in Anıtkabir. He made the leather rose oil box sent as a gift by the government to the King of Saudi Arabia, Ibn Saud. In 1954, he wrote the transfer report on parchment leather, which was placed in Atatürk's sarcophagus and signed by the cabinet. He prepared a decorated golden signature book for Anıtkabir.

“Muhammad” is written in Kufic calligraphy.

– It is on page 113 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It is included in the book “A Writing Lover Emin Barın”, published by Yapı Kredi Publications in Istanbul in 2002, p.126-127.

Ketebeli, dated 1985. Double Basmala written in celi divani script.

– It is on p.70 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It is on page 121 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It is on page 118 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.

– It is included in the book “A Writing Lover Emin Barın”, published by Yapı Kredi Publications in Istanbul in 2002, p.138-139.

The ketebeli is dated 1404 (1983). It says “Ve hüve ala külli Sey'in Kadir” in celi divanî calligraphy.

Ketebeli. "Men Dakka duka (Don't knock on the door, they will knock on your door)" is written in celî divanî calligraphy.

Size: 61 x 48 cm.

Price: 6,000 TL / $392,200.00

The colophon is dated 1974. It says "Come, my pleasure, come" in celi divani calligraphy.

Size: 52 x 38cm.

Price: 5,000 TL / $326,800.00

The colophon is dated 1986. It has “Errahman-Errahim” written in celi divanî calligraphy.

Size: 37 x 37 cm.

Price: .000 TL / $326,800.00

– It is on page 124 of the book “A Writing Lover Emin Barın” published by Yapı Kredi Publications in Istanbul in 2002.