INVENTORY INFORMATION:
Name of the Element: The Art of Hat
Other Names of the Element:Hüsn-i Hat, hat.
Inventory Number of the Element: 01.0076
Date of the Registration: 06/08/2014
Date of the Inventory Update for the Element: June 2016 ve March 2019
ICH Domains of the Element:
- Knowledge and practices concerning nature and the universe
- Traditional craftsmanship
Provinces Submitted Inventory Form for the Element: Elazığ (2009), İstanbul (2013).
INFORMATION ABOUT THE ELEMENT:
Brief Description about Element:
The art of hat, the traditional art of Islamic calligraphy, is the art of writing with Islamic letters of Arabic origin by using reed pen and soot ink (or other handmade organic inks) in a measured and proportional manner, while taking into consideration of the aesthetic values. The original name of the element (hüsn-i hat) literally means beautiful writing. A special paper glazed with organic substances (aharlı kağıt), kamış kalem (reed pen), penknives, makta (the special slab for trimming the reed pen), hokka (inkwell), and divit (pen case) are the most used tools in its practice traditionally. The art of hat is one of the most admirable arts such as painting, architecture, and ornament.
Since the 11th century Seljuks, hüsn-i hat reaches today throughout numerous Anatolian Turkish states including Ottomans in which the art acquired fundamental progress.
The whole Qoran (sacred book of Islam), its verses, hadiths (tradition of the Prophet of Islam), Turkish laconic and poetical couplets are written by hüsn-i hat.
The art of hat is written on special paper, leather or other writing materials with a reed pen and soot ink. It may also be applied on the surfaces of stone, marble, glass, metal, wood, etc. by using specific techniques.
Holding the reed pen and its directions on the paper by the master hattat ensures the perfection of the letters or the compound.
There are different styles of writing which have been evolved over centuries: Thuluth, jali (any large type of script) thuluth, naskh, jali naskh, muhaqqaq, raykhāni, tawqi, riqā’, kufic, ta’liq, jali ta’liq, nasta’liq, siyaqat, diwani, riq’a, gubari (sand grain) are among the commonly preferred styles. Significant amount of hüsn-i hat works can be observed today in state correspondences as imperial edicts, warrants, signatures of the sultans, as well as writings of religious and public buildings. Today, the art of Hat actively is kept alive by the related community of the tradition.
Geographical Location of the Element:
Although the element is practiced in all regions of Turkey, most of the hattats (calligraphers) perform their art in Istanbul, the city which is regarded as the historical and cultural center where the element is kept strongest.
Related Groups and Communities:
Hattats, (Calligrapher or calligraphy master), their pupils, producers/suppliers of the writing tool (kamış kalem - reed pen), producers/suppliers of the special paper (aharlı paper that is glazed with organic substances), the paper burnishers using a special tool (mühre, generally made of agate gem), producers/suppliers of soot ink (mürekkep), producers/suppliers of the special trimming slab (makta) for the reed pen, and pencil sharpeners (pen-knives) as well as people who acknowledge this art as part of their culture or who are interested in it for their self-development form the relevant community of this heritage.
Academicians, pertinent NGOs, and private workshops conducting research and providing formal / non-formal educational courses are also among the community of the element.
Strategic Safeguarding Plan for the Element:
There is a safeguarding plan related with the element at the national level. The safeguarding plan prepared together with the related NGOs, bearers, academicians, in 2020 consists of 5 main categories:
- Transmission and viability of the element
- Visibility and awareness raising measures
- International Cooperation
- Academic and documentation measures
- Training programmes towards enhancing of the practice
List of Publications Related to the Element:
Acar, M. Şinasi, Türk Hat Sanatı(Araç, Gereç ve Formlar), Antik A.Ş. Yayınları, İstanbul 1999.
Alparslan, Ali, İslam Ansiklopedisi, "celi” md, C.7, s.265-267 “divânî” md., C.9, s.445-446; "kıt’a" md., C.25, s.505-506 "müsennâ"md.,C.32, s.87-88. Türkiye Diyanet Vakfı Yayınları, Ankara 1988-2013.
Alparslan, Ali, Osmanlı Hat Sanatı Tarihi, Yapı ve Kredi Yayınları, İstanbul 2004.
Bektaşoğlu, Mustafa, Hat Sanatı ve Tosyalı Hattatlar, İmaj Yayıncılık, İstanbul 2005.
Berk, Süleyman, Devlet-i Aliyye'den Günümüze Hat Sanatı, İnkılâb Yayınları, İstanbul 2013.
Çetin, Nihad M., "Aklâm-ı Sitte" md. İslam Ansiklopedisi, C.2, s.276-280, TDV Yay., Ankara 1989
Dere, Ömer Faruk, Hattat Hafız Osman Efendi, Korpüs Kültür Sanat Yayıncılık, İstanbul 2009.
Dere, Ömer Faruk, Yeni Başlayanlar İçin Hat Sanatı, Nesih Yazı Metodu, İnkılâb Yay, İst. 2014.
Derman, M. Uğur, Eternal Letters. From the Abdul Rahman Al Owais Collection of Islamic Calligraphy, çev. Irvin Cemil Schick, (Sharjah; Sharjah Museum of Islamic Civilization, 2009).
Derman, M. Uğur, İslâm Ansiklopedisi, "ahar" md., C.1, s.485; "hat" md., C.16, s.427-437; "hattat” md., C.16, s.493-499; "hokka" md., C.18, s.216-218; "hilye" md., C.18, s.47-5 I; "istif" md., C.23, s.330-333; "kalem" md., C.24, s.245-247; "makta" md., C.27, s.454; "mühre" md., C.31, s.527; "mürekkep" md., C.32, s.46-47; "nesih" md., c.33, s.1-3; "ta'lîk" md., C.39, s.507-508. Türkiye Diyanet Vakfı Yayınları, Ankara 1988-2013.
Derman, M. Uğur, Türk Hat Sanatının Şaheserleri, Kültür Bakanlığı Yayınları, Ankara 1982.
Derman, M.Uğur, Çetin, Nihad M., İslâm Kültür Mirasında Hat Sanatı, IRCICA Yay., İstanbul 1992
Efe, Ahmet, Güzeli Bulmak: Hattatların Hâli, Esra Sanat Yayınları, Konya 1994.
George, Alain, The Rise of Islamic Calligraphy, London: Saqi Books, 2010.
İnal, İbnülemin Mahmud Kemal, Son Hattatlar, Maarif Basımevi, İstanbul 1955.
Kalafat Alpaslan, Dilem Tutku, “Hat Sanatımız ve Hattat, Kaligrafist, Yazı Tasarımcısı ve Eğitimcisi Emin Barın”, Cumhuriyet Üniversitesi İlahiyat Fakültesi Dergisi 11(2), 2007, ss. 317-328.
Kazan, Hilal, Dünden Bugüne Hanım Hattatlar, İBB Kültür A.Ş.Yayınları, İstanbul 2010.
Memiş Mehmet, “Osmanlıda Hat Sanatını Zirveye Çıkaran Eğitim Yöntemi: Meşk ve İcazet Geleneği”, Al-Farabi Uluslararası Sosyal Bilimler Dergisi Vol. 2/3, 2018 ss.53.77.
Özcan Ali Rıza (ed.), Hat ve Tezhip Sanatı, Kültür ve Turizm Bakanlığı Yayınları, Ankara 2009.
Rado, Şevket. Türk Hattatları. Tifdruk Matbaacılık, İstanbul 1984.
Schimmel, Annemarie, Calligraphy and Islamic Culture, London: I.B. Tauris, 1990.
Serin, Muhiddin, Hat San’atımız Tarihçesi-Malzeme ve Aletler-Meşkler, Kubbealtı Neşriyatı, İstanbul 1982.
Serin, Muhittin, Hat Sanatı ve Meşhur Hattatlar, Kubbealtı Neşriyatı, İstanbul 2003.
Serin, Muhittin, İslâm Ansiklopedisi, "kûfi" md., C.26,5.342-345; "meşk" md., C.29,s..372-374; "Mushaf' md.C.31, s.248-254; "rik'a" md. C.35,s.108-109; "rikâ” md. C.35, s.109-110; "sülüs" md. C.38, s.128-130; “tevki” md. C.41, s.36-37. Türkiye Diyanet Vakfı Yayınları, Ankara 1988-2013.
Tanındı, Zeren ve Aldemir Kilercik, Ayşe, Sakıp Sabancı Müzesi Kitap Sanatları ve Hat Koleksiyonu. Edited by Ayşen Anadol, İstanbul: Sakıp Sabancı Müzesi, 2012
Taşkale Faruk, Gündüz Hüseyin, Hat Sanatında Hilye-i Şerîfe, Antik A.Ş. Yay., İstanbul 2006.
Türkoğlu, Selim, Rûhî Hendese: Hüsn-i Hat Sanatı, Aktif Matbaası, İstanbul 2006.
Ülker, Hikmet, Hattın Çelebisi Hasan Çelebi, Tarih ve Tabiat Vakfı Yayınları, İstanbul 2003.
Welch, Anthony, Calligraphy in the Arts of the Muslim World, (Austin, Texas: University of Texas Press, 1979).
Yazıcı, İsmail, Hattat Hâmid Aytaç Kitabı, Kartalite Kültür Yayınları, İstanbul 2008.
Yazır, Mahmud Bedreddin, Medeniyet Âleminde Yazı ve İslam Medeniyetinde Kalem Güzeli, 3 cilt, neşre hazırlayan: Uğur Derman, (Ankara: Diyanet İşleri Başkanlığı Yayınları, 1989).