Qur’an.

Name: Qur’an.
Author: Calligrapher: Sheikh Hamdullah (Hamd Allah, AH 840?–926? / AD 1437?–1520?).

İsim	Qur’an.
Yazar	Calligrapher: Sheikh Hamdullah (Hamd Allah, AH 840?–926? / AD 1437?–1520?).
Basım Tarihi:	Hegira Rajab 899 / AD April 1494.
Basım Yeri	Istanbul, Turkey. -
Konu	Ottoman — Finished (aharlı) paper, leather, ink, watercolour, gilding, tooling on the leather binding.
Tür	Kitap
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Evet
Fiziksel Boyutlar	Height 33.5 cm, width 23.5 cm.
Kütüphane:	Museum With No Frontiers
Demirbaş Numarası	402
Kayıt Numarası	ISL_tr_Mus01_20
Lokasyon	Museum of Turkish and Islamic Arts.
Tarih	Hegira Rajab 899 / AD April 1494.
Notlar	The work in all its aspects reflects the full maturity of the style for its time. It was produced as 265 folios of finished (aharli) paper with 14 lines per page ofnaskhiscript in black ink. The book's introduction features a double-page illumination. The chapter title frames, marginal rosettes and the colophon page are also illuminated. The illumination includes freely brushed cloud compositions placed side by side with traditional motifs like Chinese-inspired floral motifs (e.g. peonies), arabesques, palmettes and spiralling tendrils. The attempt to reach beyond traditional compositional formulas continues in the illumination, placed in between letters and in the flower and leaf compositions springing from the frames or letters.The leather binding is dark-red on the outside and dark-green on the inside. The symmetrical layout on both the inner (doublures) and outer covers comprises an oval medallion ending in palmette-shaped pendants and half-pendant corner-pieces within a wide border. The medallion, corner-pieces and pendants are outlined in gold and filled with vegetal compositions in thehatayi(chinoiserie) style. The decoration on the binding is tooled to a depth of 2 mm on the outer covers and to 1 mm on the inner covers. The balance between decorated and undecorated surfaces, and the surface difference in the decoration, makes for incredible depth. In contrast to the other parts of the binding, the flap is inscribed with Qur'anic verses (56: 77–9).SheikhHamdullah established a school in Ottomancalligraphythat was known by his name. He was also a teacher ofSultanBayezid II (r. AH 886–918 / AD 1481–1512). This work, transcribed bySheikhHamdullah (Hamd Allah) in Rajab 899 (AD April 1494), is noteworthy for its surpassing of traditional models of illumination and especially for its masterful tooled binding and superbcalligraphy. Thus, it is one of the most important works from the reign of Bayezid II, when Ottoman book arts started to assume their own identity.
Örnek Metin	This Qur'an was copied bySheikhHamdullah, who established a school of Ottomancalligraphy. Itscalligraphy, illumination and exquisite binding make it a masterpiece of Early Ottoman period book arts. — The book was transferred to the Museum from the Library of the Ayasofya Mosque in Istanbul in 1914. — The colophon states that it was written in Rajab 899 / April 1494. — The high-quality calligraphy, illumination and binding of the work all suggest that it was produced in the Topkapı Palace workshops in Istanbul. Sultan Bayezid II was quite passionate about the art of calligraphy. When he was a prince governing Amasya, he was tutored in calligraphy by Sheikh Hamdullah (Hamd Allah). When he ascended the throne, he invited his tutor to teach calligraphy in Topkapı Palace. Thus, it is highly likely that this Qur'an was prepared for Sultan Bayezid II in the workshops of Topkapı Palace.
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	Çığ, K.,Türk Kitap Kapları(Turkish Book Bindings), Istanbul, 1971, Fig. IV.Levenson, J. A. (ed),Circa 1492: Art in the Age of Exploration, Washington D.C., 1991, no. 81.Ölçer, N.et al, Museum of Turkish and Islamic Art, Istanbul, 2002, pp.250–1.Raby, J. and Tanındı, Z.,Turkish Bookbinding in the 15th Century, London, 1993, pp.196–9.Roxburgh, D. .J. (ed),Turks: A Journey of a Thousand Years, 600–1600, London, 2005, p.441.

Kaynağa git Museum With No Frontiers

Aramaya Dön

Museum With No Frontiers

Kaynağa git

Qur’an.

Yazar Calligrapher: Sheikh Hamdullah (Hamd Allah, AH 840?–926? / AD 1437?–1520?).

Basım Tarihi Hegira Rajab 899 / AD April 1494.

Basım Yeri Istanbul, Turkey. -

Konu Ottoman — Finished (aharlı) paper, leather, ink, watercolour, gilding, tooling on the leather binding.

Tür Kitap

Dil Belirlenmemiş dil

Dijital Evet

Yazma Evet

Fiziksel Boyutlar Height 33.5 cm, width 23.5 cm.

Kütüphane Museum With No Frontiers

Demirbaş Numarası 402

Kayıt Numarası ISL_tr_Mus01_20

Lokasyon Museum of Turkish and Islamic Arts.

Tarih Hegira Rajab 899 / AD April 1494.

Notlar The work in all its aspects reflects the full maturity of the style for its time. It was produced as 265 folios of finished (aharli) paper with 14 lines per page ofnaskhiscript in black ink. The book's introduction features a double-page illumination. The chapter title frames, marginal rosettes and the colophon page are also illuminated. The illumination includes freely brushed cloud compositions placed side by side with traditional motifs like Chinese-inspired floral motifs (e.g. peonies), arabesques, palmettes and spiralling tendrils. The attempt to reach beyond traditional compositional formulas continues in the illumination, placed in between letters and in the flower and leaf compositions springing from the frames or letters.The leather binding is dark-red on the outside and dark-green on the inside. The symmetrical layout on both the inner (doublures) and outer covers comprises an oval medallion ending in palmette-shaped pendants and half-pendant corner-pieces within a wide border. The medallion, corner-pieces and pendants are outlined in gold and filled with vegetal compositions in thehatayi(chinoiserie) style. The decoration on the binding is tooled to a depth of 2 mm on the outer covers and to 1 mm on the inner covers. The balance between decorated and undecorated surfaces, and the surface difference in the decoration, makes for incredible depth. In contrast to the other parts of the binding, the flap is inscribed with Qur'anic verses (56: 77–9).SheikhHamdullah established a school in Ottomancalligraphythat was known by his name. He was also a teacher ofSultanBayezid II (r. AH 886–918 / AD 1481–1512). This work, transcribed bySheikhHamdullah (Hamd Allah) in Rajab 899 (AD April 1494), is noteworthy for its surpassing of traditional models of illumination and especially for its masterful tooled binding and superbcalligraphy. Thus, it is one of the most important works from the reign of Bayezid II, when Ottoman book arts started to assume their own identity.

Örnek Metin This Qur'an was copied bySheikhHamdullah, who established a school of Ottomancalligraphy. Itscalligraphy, illumination and exquisite binding make it a masterpiece of Early Ottoman period book arts. — The book was transferred to the Museum from the Library of the Ayasofya Mosque in Istanbul in 1914. — The colophon states that it was written in Rajab 899 / April 1494. — The high-quality calligraphy, illumination and binding of the work all suggest that it was produced in the Topkapı Palace workshops in Istanbul. Sultan Bayezid II was quite passionate about the art of calligraphy. When he was a prince governing Amasya, he was tutored in calligraphy by Sheikh Hamdullah (Hamd Allah). When he ascended the throne, he invited his tutor to teach calligraphy in Topkapı Palace. Thus, it is highly likely that this Qur'an was prepared for Sultan Bayezid II in the workshops of Topkapı Palace.

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 Çığ, K.,Türk Kitap Kapları(Turkish Book Bindings), Istanbul, 1971, Fig. IV.Levenson, J. A. (ed),Circa 1492: Art in the Age of Exploration, Washington D.C., 1991, no. 81.Ölçer, N.et al, Museum of Turkish and Islamic Art, Istanbul, 2002, pp.250–1.Raby, J. and Tanındı, Z.,Turkish Bookbinding in the 15th Century, London, 1993, pp.196–9.Roxburgh, D. .J. (ed),Turks: A Journey of a Thousand Years, 600–1600, London, 2005, p.441.