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Ahmed Karahisari album
(ألبوم أحمد قراهيساري)

Title	Ahmed Karahisari album
Title Original	ألبوم أحمد قراهيساري
Author	Calligrapher Ahmad Karahisari (875-963 / 1470-1556).
Author Original	الخطاط أحمد قراهيساري
Publication Date:	10th / 16th century
Publication Place	Istanbul, Turkey. - Museum of Turkish and Islamic Arts
Subject	Polished Aharli paper, ink, gold inlay, decorative leather.
Type	Other
Language	Undetermined
Digital	Yes
Manuscript	Yes
Physical Dimensions	الطول: 50 سم؛ العرض: 34 سم
Library:	Museum With No Frontiers
Library Asset ID	1443
Record ID	object;ISL;tr;Mus01;34;ar
Library Location	Museum of Turkish and Islamic Arts
Date	10th / 16th century
Notes	Ahmad Qarahisari's album consists of two parts, and contains six surahs of the Qur'an (up to Surat Al-An'am), a series of hadiths, and a section of Al-Busayri's poem Al-Burdah (7th/13th century). The album, which consists of 15 carefully pasted sheets, includes examples of Ahmed Qarahisari’s writing in Kufi, Naskh, Thuluth, and Muhaqqiq script, which enrich the art of writing. The album's leather cover is not original; This shows that these examples, which were originally written on scrolls, were probably later trimmed and collected together in this album. The album opens with a page with the words “Praise be to God” at the top, written in square Kufic script, then the Basmala in the middle, and Surat Al-Layl (No. 92) at the bottom, also written in square Kufic script, all written in black and gold ink. However, the design on other pages has different characteristics according to the style and dimensions of the writing. In the data regarding the name of the copyist on the last page, Ahmad Qarahisari describes himself as having studied under his teacher Asadallah Kermani, rather than at the school of Sheikh Hamdallah, with the aim of learning to write in the style of the great calligrapher Yaqut al-Mustasimi (7th century / 13th century). Karahisari breathed life into the Ottoman art of writing in the 16th century AD and left his mark on it. As for the school that he established, it was continued by his student Hasan Çelebi (died 1002 / 1594), then it was neglected at the end of the 10th / 16th century. These writings are considered models for Ottoman calligraphic decoration. In addition to the peak they reached in the art of writing, their splendor continues to inspire a large number of artists to this day.
Sample Text	Sevgi Kutluay “Ahmed Karahisari Album” in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;tr;Mus01;34;ar
Bu sayfanın künyesi	Prepared by:Sevgi KUTLUAYSevgi Kutluay is the Head of the Calligraphy and Manuscripts Section at the Museum of Turkish and Islamic Arts in Istanbul. She graduated from the Department of Archaeology and Art History at Hacettepe University, Ankara, in 1985 with the thesis “The Complexes of Kayseri Huand Hatun and Afşin Eshab-ı Kehf and the Development of Complexes in the Anatolian Seljuq Period”. She completed her Master's at the same department with a thesis entitled “Divriği Great Mosque and Its Decorative Programme” in 1989. She started working at the Ministry of Culture and Tourism in 1988 and has worked as an expert at various museums and departments of the ministry. She quit her Ph.D. entitled “The Diwan of Hüseyin Baykara and the 15th Century Manuscripts of Herat”. She participated in restoration projects on the wall paintings of Göreme Dark Church and Sumela Monastery in Trabzon and in the display designs of various museums.
Seçili bibliyografya	Aksoy, Ş., “Türk ve İslam Eserleri Müzesinden Bir Osmanlı Hat Sanatı Klasiği: Karahisari Albümü”,P, Sanat, Kültür, Antika Dergisi, 21 (Spring 2001), pp.66–75.Alparslan, A.,Osmanlı Hat Sanatı Tarihi, Istanbul, 1999, p.56.Ölçer, N.,et al, In Pursuit of Excellence: The Museum of Turkish and Islamic Arts, Istanbul, 1993, p.42, plate 18A-B, pp.50-1.Ölçer, N.,et al, Museum of Turkish and Islamic Art, Istanbul, 2002, pp.264–5.

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Ahmed Karahisari album

(ألبوم أحمد قراهيساري)

Author Calligrapher Ahmad Karahisari (875-963 / 1470-1556).

Author Original الخطاط أحمد قراهيساري

Publication Date 10th / 16th century

Publication Place Istanbul, Turkey. - Museum of Turkish and Islamic Arts

Subject Polished Aharli paper, ink, gold inlay, decorative leather.

Type Other

Language Undetermined

Digital Yes

Manuscript Yes

Physical Dimensions الطول: 50 سم؛ العرض: 34 سم

Library Museum With No Frontiers

Library Asset ID 1443

Record ID object;ISL;tr;Mus01;34;ar

Library Location Museum of Turkish and Islamic Arts

Date 10th / 16th century

Notes Ahmad Qarahisari's album consists of two parts, and contains six surahs of the Qur'an (up to Surat Al-An'am), a series of hadiths, and a section of Al-Busayri's poem Al-Burdah (7th/13th century). The album, which consists of 15 carefully pasted sheets, includes examples of Ahmed Qarahisari’s writing in Kufi, Naskh, Thuluth, and Muhaqqiq script, which enrich the art of writing. The album's leather cover is not original; This shows that these examples, which were originally written on scrolls, were probably later trimmed and collected together in this album. The album opens with a page with the words “Praise be to God” at the top, written in square Kufic script, then the Basmala in the middle, and Surat Al-Layl (No. 92) at the bottom, also written in square Kufic script, all written in black and gold ink. However, the design on other pages has different characteristics according to the style and dimensions of the writing. In the data regarding the name of the copyist on the last page, Ahmad Qarahisari describes himself as having studied under his teacher Asadallah Kermani, rather than at the school of Sheikh Hamdallah, with the aim of learning to write in the style of the great calligrapher Yaqut al-Mustasimi (7th century / 13th century). Karahisari breathed life into the Ottoman art of writing in the 16th century AD and left his mark on it. As for the school that he established, it was continued by his student Hasan Çelebi (died 1002 / 1594), then it was neglected at the end of the 10th / 16th century. These writings are considered models for Ottoman calligraphic decoration. In addition to the peak they reached in the art of writing, their splendor continues to inspire a large number of artists to this day.

Sample Text Sevgi Kutluay “Ahmed Karahisari Album” in Discover Islamic Art. Museum Without Borders, 2026. https://islamicart.museumwnf.org/database_item.php?id=object;ISL;tr;Mus01;34;ar

Bu sayfanın künyesi Prepared by:Sevgi KUTLUAYSevgi Kutluay is the Head of the Calligraphy and Manuscripts Section at the Museum of Turkish and Islamic Arts in Istanbul. She graduated from the Department of Archaeology and Art History at Hacettepe University, Ankara, in 1985 with the thesis “The Complexes of Kayseri Huand Hatun and Afşin Eshab-ı Kehf and the Development of Complexes in the Anatolian Seljuq Period”. She completed her Master's at the same department with a thesis entitled “Divriği Great Mosque and Its Decorative Programme” in 1989. She started working at the Ministry of Culture and Tourism in 1988 and has worked as an expert at various museums and departments of the ministry. She quit her Ph.D. entitled “The Diwan of Hüseyin Baykara and the 15th Century Manuscripts of Herat”. She participated in restoration projects on the wall paintings of Göreme Dark Church and Sumela Monastery in Trabzon and in the display designs of various museums.

Seçili bibliyografya Aksoy, Ş., “Türk ve İslam Eserleri Müzesinden Bir Osmanlı Hat Sanatı Klasiği: Karahisari Albümü”,P, Sanat, Kültür, Antika Dergisi, 21 (Spring 2001), pp.66–75.Alparslan, A.,Osmanlı Hat Sanatı Tarihi, Istanbul, 1999, p.56.Ölçer, N.,et al, In Pursuit of Excellence: The Museum of Turkish and Islamic Arts, Istanbul, 1993, p.42, plate 18A-B, pp.50-1.Ölçer, N.,et al, Museum of Turkish and Islamic Art, Istanbul, 2002, pp.264–5.