Interested in Islamic Art of Bosnia and Herzegovina Address: Katedra za historiju umjetnosti Filozofski fakultet Sarajevo Franje Rackog 1 71 000 Sarajevo Bosna i Hercegovina
Zbornik radova s okruglog stola Značaj očuvanja autentičnosti bosanskih džamija održanog u Sarajevu 9. maja 2023. godine , 2023
Ispravno prepoznavanje autentičnosti igra ključnu ulogu u razumijevanju, vrednovanju i očuvanju k... more Ispravno prepoznavanje autentičnosti igra ključnu ulogu u razumijevanju, vrednovanju i očuvanju kulturne baštine. Unutar enterijera bosanskohercegovačkih džamija odražava se bosanski duh (genius loci bosnensis) kroz jedinstvene elemente, prisutne u kaligrafiji, arhitektonskoj plastici i zidnom slikarstvu. Kaligrafska dekoracija, osim vizualnih kvaliteta, nosi duboku simboliku, očitu u tekstovima i stilovima utvrđenim tradicijom, ispisanim na precizno određenim dijelovima džamije. Mihrab je neodvojiv dio džamijske arhitekture. Njegova simbolika i poruke sadržane su u stalaktitnoj dekoraciji (muqarnas) simbolizirajući duhovno uzdizanje duše. Ajet o susretu hazreti Merjeme i Zekerijjaha najčešće se pojavljuje na mihrabima bosanskohercegovačkih džamija. Raznolikost motiva u zidnom slikarstvu odražavaju umjetnost koja osim površinske ljepote, pruža uvid u duhovni svijet i temeljne vrijednosti muslimana na ovim prostorima. Autentična dekoracija enterijera neodvojiv je element džamija Bosne i Hercegovine.
Text draws attention to the calligraphic cycles in turbes of Gazi Husrev- bey and Murad-bey in Sa... more Text draws attention to the calligraphic cycles in turbes of Gazi Husrev- bey and Murad-bey in Sarajevo. Through comparative analysis considering the artistic style, author came to conclusion that three calligraphers were involved in decorating the turbes: Hadži Hafiz Husejin Rakim-efendi Islamovic, Ali-efendi Faginovic and Akif-efendi Hadžihuseinovic. The works of the first two are found in the Gazi Husrev-bey turbe, eight inscriptions of Islamovic and sixteen of Faginovic, while seven calligraphic inscriptions of Hadžihuseinovic are placed in turbe of Murad-bey. Calligraphers chose galƯ ܔuluܔ script as best appropriate for the calligraphic composition. On the basis of colors and forms, inscriptions could be classified into two groups: the group of spherical inscription with golden letters on the green background (Islamovic, Hadžihuseinovic) and the group of inscriptions with gold letters on white (Faginovic). Calligraphy in turbes was done between the 1893rd and 1895th. This work is a small step in the field of Islamic art in Bosnia and Herzegovina during the Austro-Hungarian period. Its main goal is to draw attention to the unknown field.
Context: Journal of Interdisciplinary Studies, 2022
Isanović, Nusret, Safavidska umjetnost: sjajenje ideje perzijske metafizike. Sarajevo: El-Kalem i... more Isanović, Nusret, Safavidska umjetnost: sjajenje ideje perzijske metafizike. Sarajevo: El-Kalem i Centar za napredne studije, 2016. str.151. ISBN 978-9958-23-446-0, ISBN 978-9958-022-38-8.
Bosniak calligraphers of the 17th and 18th centuries understood the copying of the Qur’an as one ... more Bosniak calligraphers of the 17th and 18th centuries understood the copying of the Qur’an as one of the imperatives of their calligraphic work and they tried to show all their skills. Ten copies of Mushafs from the collection of the Gazi Husrev-beg Library in Sarajevo were chosen for the purposes of this research. Analysis shows that each calligrapher was up to the task, but difference in the quality of their work was noticed. Some calligraphers lack skill, like hafiz Mustafa son of Omer from Mostar. Those more skilful made kind of deviation from the tradition, such was done by Bi-zaban Ali-pasha. The most famous Bosniak calligrapher at the turn of the 18th and 19th centuries, hafiz Ibrahim Šehović, shows on each page the self-awareness and the ability to bridge the forbidden. It is ungrateful to choose the best calligrapher, but it will be concluded that Osman Bosnian stands out. This paper tried to show the potentials of the artistic analysis of calligraphy in the Mushafs copied i...
Hadzi Hafiz Husejin Rakim-efendi Islamovic (1839- 1895) was a nineteenth century Bosnian calligra... more Hadzi Hafiz Husejin Rakim-efendi Islamovic (1839- 1895) was a nineteenth century Bosnian calligrapher. He attended his first classes on calligraphy in Sarajevo, continued specialization in Istanbul and his four diplomas in calligraphy are now in the collection of Gazi Husrev-bey library (Sarajevo). Upon arrival to Sarajevo, Islamovic established a school of calligraphy teaching a small group of students. In 1884/1885 he was chosen to decorate Gazi Husrev-bey mosque (Sarajevo) with calligraphy. Today only two of his works survived, on the mosque’s portal. It is likely that Islamovic also did the calligraphy on the grave marker (nisan) of Mustaj-bey Dzenetic, located in the graveyard of the Ali-pasha mosque complex (Sarajevo)
Copying the Qur’an, the mushaf, has a century-old tradition in Bosnia and Herzegovina. This excep... more Copying the Qur’an, the mushaf, has a century-old tradition in Bosnia and Herzegovina. This exceptional project was done by various kinds of copyists – scribes and calligraphers. The mushafs copied by the calligraphers have lavish illumination and breathless calligraphy, their work almost always overshadows the work of “the ordinary scribes”. With a desire to point out the rich and layered tradition of copying the mushafs during the Ottoman period, this paper aims to present twelve manuscripts of the Qur’an from the collection of Gazi Husrev-beg library in Sarajevo. All chosen manuscripts date to the 17th and 18th centuries and were transcribed by Bosniak scribes. After a formal and stylistic analysis of the mushaf manuscripts, supported by palaeography and codicology, there is a clear difference between scribes – indolence and clumsiness is noticed in the work of some scribes, others have qualities that denominate them as naive calligraphers, while there is a very small group whoim...
Statistically speaking, in terms of the number of manuscripts transcribed during the Ottoman peri... more Statistically speaking, in terms of the number of manuscripts transcribed during the Ottoman period in Bosnia, manuscripts of the Qur’an certainly prevailed. This demanding project was undertaken by scribes of all categories – ordinary scribes but also calligraphers. In addition to following the spelling rules, it was presumed that the scribes of the Qur’an followed special rules for transcribing the Holy Text. In order to gain an insight into the extent to which and what transcription norms were known in the Ottoman-era Bosnia, a list of rules for copying the Qur’an published and critically interpreted by the eminent professor Jan Just Witkam have served as a basis. In order to gain a broader picture, the mushafs of the 17th and 18th centuries from the collection of Gazi Husrev-bey’s library in Sarajevo were analyzed. After the examination of 22 mushafs from this collection, it was concluded that the rules for Qur’an copying were known in the Ottoman Bosnia as early as the 17th cen...
This paper presents the artistic work of the French artist Julien Breton, known by the nickname K... more This paper presents the artistic work of the French artist Julien Breton, known by the nickname Kaalam. In the beginnings he was influenced by graffiti art and Islamic calligraphy. Breton did not follow classical calligraphic styles but sought to find his own calligraphic expression that mirrored diwani, thuluth, and kufi script. The biggest leap in his aesthetics happened when he replaced pen and paper with light calligraphy, and a change of medium made him one of the protagonists of this art. In addition to exploring the possibilities of light calligraphy, Breton collaborates with other artists where the most interesting projects are with dance groups.
Austro-Hungarian Monarchy left an indelible mark on the culture of Bosnia and Herzegovina. One of... more Austro-Hungarian Monarchy left an indelible mark on the culture of Bosnia and Herzegovina. One of the pillars of Dual Monarchy's strategy was cultural policy, which cannot be understood without insight into contemporary postcolonial theories and oriental studies. The focus of this paper is the issue of self-Orientalism in the context of Bosnia and Herzegovina, which was present during the Habsburg period, but also after it. A good example of self-Orientalism is the Sarajevo sebil, a fountain built at the end of the 19th century during the Austro-Hungarian rule.
Dervišević, Haris. ''O ključnim temama islamske umjetnosti očima historije umjetnosti'', u: Conte... more Dervišević, Haris. ''O ključnim temama islamske umjetnosti očima historije umjetnosti'', u: Context: Časopis za interdisciplinarne studije, God. 3, Broj 1 (2016). Sarajevo : Centar za napredne studije, 2017., 51-65.
Sažetak: Rad preispituje najčešće teme islamske umjetnosti koje se dotiču njene naravi, izvora, načela i likovnosti. Poseban osvrt daje se na odnos između islama i umjetnosti, odnosno nastojalo se utvrditi koliko je islam kao vjera utjecao na islamsku umjetnost. Neizbježna tema u tretiranju islamske umjetnosti kao fenomena jeste zabrana prikazivanja likova, o čemu također govori jedan dio rada. Cilj teksta nije ponuditi konačne odgovore, već započeti dijalog o nekim temama koje se dotiču islamske umjetnosti, a svaki od podnaslova zaslužuje biti predmetom izdvojene studije.
Ključne riječi: islam, islamska umjetnost, historija umjetnosti
Abstract: This paper examines a number of very common themes in Islamic art and relates them to its nature, sources, principles, and artistic character. Particular attention is paid to the relationship between Islam and art and to determing the extent to which Islam as a faith has influenced Islamic art. As one can hardly pass over in silence the ban on representing persons, when dealing with Islamic art as a phenomenon, that too is discussed at the appropriate point in the paper. This paper involves no attempt to offer final answers, the author’s hope being to initiate dialogue on themes affecting Islamic art. A satisfactory treatment of the topics of the subsections would require a series of dedicated studies.
Dervišević, Haris. ''Kaligrafija Gazi Husrev-begovog i Murat-begovog turbeta u Sarajevu'', u: Ana... more Dervišević, Haris. ''Kaligrafija Gazi Husrev-begovog i Murat-begovog turbeta u Sarajevu'', u: Anali Gazi Husrev-begove biblioteke, Knjiga XXXVI. Sarajevo : Gazi Husrev-begova biblioteka, 2015., 201-222.
Text draws attention to the calligraphic cycles in turbes of Gazi Husrevbey and Murad-bey in Sarajevo. Through comparative analysis considering the artistic style, author came to the conclusion that three calligraphers were involved in decorating the turbes: Hadži Hafiz Husejn Rakim-efendi Islamović, Ali-efendi Faginović and Akif-efendi Hadžihuseinović. The works of the first two are found in the Gazi Husrev-bey turbe, eight inscriptions of Islamović and sixteen of Faginović, while seven calligraphic inscriptions of Hadžihuseinović are placed in turbe of Murad-bey. Calligraphers chose gali tulut script as best appropriate for the calligraphic composition. On the basis of colors and forms, inscriptions could be classified into two groups: the group of spherical inscription with golden letters on the green background (Islamović, Hadžihuseinović) and the group of inscriptions with gold letters on white (Faginović). Calligraphy in turbes was done between the 1893rd and 1895th. This work is a small step in the field of Islamic art in Bosnia and Herzegovina during the Austro-Hungarian period. Its main goal is to draw attention to the unknown field.
Keywords: Islamic calligraphy, Gazi Husrev-bey, Rakim Islamović, Ali Faginović, Akif Hadžihuseinović
Dervišević, Haris. ''Ešref Kovačević (1924.-1996.): kaligrafska ostavština'', u: Godišnjak BZK Pr... more Dervišević, Haris. ''Ešref Kovačević (1924.-1996.): kaligrafska ostavština'', u: Godišnjak BZK Preporod, God. XVI (2016.), Sarajevo : Bošnjačka zajednica kulture Preporod, 2016., 443-453.
Ešref Kovačević was prominent Bosniak historian, researcher, translator and calligrapher. His legacy in the field of the Ottoman history of Bosnia and Herzegovina is well known to the academic community, while the general public knows his poem in the honor of Muhamed (saws), calligraphy and transcription of the Holy Qur’an. This review begins with his short biography while the focus will be on his calligraphy heritage. The intention of the author is to initiate further research and aesthetic evaluation of the Kovačević calligraphy still waiting for the monograph. The number of art works, places they are found shows that Kovačević was an unusually productive calligrapher.
Every metropolis has its landmark. Paris has the Eiffel Tower, London its Big Ben, the Brandenbur... more Every metropolis has its landmark. Paris has the Eiffel Tower, London its Big Ben, the Brandenburg Gate is Berlin’s famous historical monument and New York is known for the Statue of Liberty. Sarajevo, the capital of Bosnia and Herzegovina, has also something to be proud of – the Gazi Husrev Beg Mosque, a 16th century Ottoman masterpiece. No visit to Sarajevo would be complete without seeing this Mosque and its surroundings.
Zbornik radova s okruglog stola Značaj očuvanja autentičnosti bosanskih džamija održanog u Sarajevu 9. maja 2023. godine , 2023
Ispravno prepoznavanje autentičnosti igra ključnu ulogu u razumijevanju, vrednovanju i očuvanju k... more Ispravno prepoznavanje autentičnosti igra ključnu ulogu u razumijevanju, vrednovanju i očuvanju kulturne baštine. Unutar enterijera bosanskohercegovačkih džamija odražava se bosanski duh (genius loci bosnensis) kroz jedinstvene elemente, prisutne u kaligrafiji, arhitektonskoj plastici i zidnom slikarstvu. Kaligrafska dekoracija, osim vizualnih kvaliteta, nosi duboku simboliku, očitu u tekstovima i stilovima utvrđenim tradicijom, ispisanim na precizno određenim dijelovima džamije. Mihrab je neodvojiv dio džamijske arhitekture. Njegova simbolika i poruke sadržane su u stalaktitnoj dekoraciji (muqarnas) simbolizirajući duhovno uzdizanje duše. Ajet o susretu hazreti Merjeme i Zekerijjaha najčešće se pojavljuje na mihrabima bosanskohercegovačkih džamija. Raznolikost motiva u zidnom slikarstvu odražavaju umjetnost koja osim površinske ljepote, pruža uvid u duhovni svijet i temeljne vrijednosti muslimana na ovim prostorima. Autentična dekoracija enterijera neodvojiv je element džamija Bosne i Hercegovine.
Text draws attention to the calligraphic cycles in turbes of Gazi Husrev- bey and Murad-bey in Sa... more Text draws attention to the calligraphic cycles in turbes of Gazi Husrev- bey and Murad-bey in Sarajevo. Through comparative analysis considering the artistic style, author came to conclusion that three calligraphers were involved in decorating the turbes: Hadži Hafiz Husejin Rakim-efendi Islamovic, Ali-efendi Faginovic and Akif-efendi Hadžihuseinovic. The works of the first two are found in the Gazi Husrev-bey turbe, eight inscriptions of Islamovic and sixteen of Faginovic, while seven calligraphic inscriptions of Hadžihuseinovic are placed in turbe of Murad-bey. Calligraphers chose galƯ ܔuluܔ script as best appropriate for the calligraphic composition. On the basis of colors and forms, inscriptions could be classified into two groups: the group of spherical inscription with golden letters on the green background (Islamovic, Hadžihuseinovic) and the group of inscriptions with gold letters on white (Faginovic). Calligraphy in turbes was done between the 1893rd and 1895th. This work is a small step in the field of Islamic art in Bosnia and Herzegovina during the Austro-Hungarian period. Its main goal is to draw attention to the unknown field.
Context: Journal of Interdisciplinary Studies, 2022
Isanović, Nusret, Safavidska umjetnost: sjajenje ideje perzijske metafizike. Sarajevo: El-Kalem i... more Isanović, Nusret, Safavidska umjetnost: sjajenje ideje perzijske metafizike. Sarajevo: El-Kalem i Centar za napredne studije, 2016. str.151. ISBN 978-9958-23-446-0, ISBN 978-9958-022-38-8.
Bosniak calligraphers of the 17th and 18th centuries understood the copying of the Qur’an as one ... more Bosniak calligraphers of the 17th and 18th centuries understood the copying of the Qur’an as one of the imperatives of their calligraphic work and they tried to show all their skills. Ten copies of Mushafs from the collection of the Gazi Husrev-beg Library in Sarajevo were chosen for the purposes of this research. Analysis shows that each calligrapher was up to the task, but difference in the quality of their work was noticed. Some calligraphers lack skill, like hafiz Mustafa son of Omer from Mostar. Those more skilful made kind of deviation from the tradition, such was done by Bi-zaban Ali-pasha. The most famous Bosniak calligrapher at the turn of the 18th and 19th centuries, hafiz Ibrahim Šehović, shows on each page the self-awareness and the ability to bridge the forbidden. It is ungrateful to choose the best calligrapher, but it will be concluded that Osman Bosnian stands out. This paper tried to show the potentials of the artistic analysis of calligraphy in the Mushafs copied i...
Hadzi Hafiz Husejin Rakim-efendi Islamovic (1839- 1895) was a nineteenth century Bosnian calligra... more Hadzi Hafiz Husejin Rakim-efendi Islamovic (1839- 1895) was a nineteenth century Bosnian calligrapher. He attended his first classes on calligraphy in Sarajevo, continued specialization in Istanbul and his four diplomas in calligraphy are now in the collection of Gazi Husrev-bey library (Sarajevo). Upon arrival to Sarajevo, Islamovic established a school of calligraphy teaching a small group of students. In 1884/1885 he was chosen to decorate Gazi Husrev-bey mosque (Sarajevo) with calligraphy. Today only two of his works survived, on the mosque’s portal. It is likely that Islamovic also did the calligraphy on the grave marker (nisan) of Mustaj-bey Dzenetic, located in the graveyard of the Ali-pasha mosque complex (Sarajevo)
Copying the Qur’an, the mushaf, has a century-old tradition in Bosnia and Herzegovina. This excep... more Copying the Qur’an, the mushaf, has a century-old tradition in Bosnia and Herzegovina. This exceptional project was done by various kinds of copyists – scribes and calligraphers. The mushafs copied by the calligraphers have lavish illumination and breathless calligraphy, their work almost always overshadows the work of “the ordinary scribes”. With a desire to point out the rich and layered tradition of copying the mushafs during the Ottoman period, this paper aims to present twelve manuscripts of the Qur’an from the collection of Gazi Husrev-beg library in Sarajevo. All chosen manuscripts date to the 17th and 18th centuries and were transcribed by Bosniak scribes. After a formal and stylistic analysis of the mushaf manuscripts, supported by palaeography and codicology, there is a clear difference between scribes – indolence and clumsiness is noticed in the work of some scribes, others have qualities that denominate them as naive calligraphers, while there is a very small group whoim...
Statistically speaking, in terms of the number of manuscripts transcribed during the Ottoman peri... more Statistically speaking, in terms of the number of manuscripts transcribed during the Ottoman period in Bosnia, manuscripts of the Qur’an certainly prevailed. This demanding project was undertaken by scribes of all categories – ordinary scribes but also calligraphers. In addition to following the spelling rules, it was presumed that the scribes of the Qur’an followed special rules for transcribing the Holy Text. In order to gain an insight into the extent to which and what transcription norms were known in the Ottoman-era Bosnia, a list of rules for copying the Qur’an published and critically interpreted by the eminent professor Jan Just Witkam have served as a basis. In order to gain a broader picture, the mushafs of the 17th and 18th centuries from the collection of Gazi Husrev-bey’s library in Sarajevo were analyzed. After the examination of 22 mushafs from this collection, it was concluded that the rules for Qur’an copying were known in the Ottoman Bosnia as early as the 17th cen...
This paper presents the artistic work of the French artist Julien Breton, known by the nickname K... more This paper presents the artistic work of the French artist Julien Breton, known by the nickname Kaalam. In the beginnings he was influenced by graffiti art and Islamic calligraphy. Breton did not follow classical calligraphic styles but sought to find his own calligraphic expression that mirrored diwani, thuluth, and kufi script. The biggest leap in his aesthetics happened when he replaced pen and paper with light calligraphy, and a change of medium made him one of the protagonists of this art. In addition to exploring the possibilities of light calligraphy, Breton collaborates with other artists where the most interesting projects are with dance groups.
Austro-Hungarian Monarchy left an indelible mark on the culture of Bosnia and Herzegovina. One of... more Austro-Hungarian Monarchy left an indelible mark on the culture of Bosnia and Herzegovina. One of the pillars of Dual Monarchy's strategy was cultural policy, which cannot be understood without insight into contemporary postcolonial theories and oriental studies. The focus of this paper is the issue of self-Orientalism in the context of Bosnia and Herzegovina, which was present during the Habsburg period, but also after it. A good example of self-Orientalism is the Sarajevo sebil, a fountain built at the end of the 19th century during the Austro-Hungarian rule.
Dervišević, Haris. ''O ključnim temama islamske umjetnosti očima historije umjetnosti'', u: Conte... more Dervišević, Haris. ''O ključnim temama islamske umjetnosti očima historije umjetnosti'', u: Context: Časopis za interdisciplinarne studije, God. 3, Broj 1 (2016). Sarajevo : Centar za napredne studije, 2017., 51-65.
Sažetak: Rad preispituje najčešće teme islamske umjetnosti koje se dotiču njene naravi, izvora, načela i likovnosti. Poseban osvrt daje se na odnos između islama i umjetnosti, odnosno nastojalo se utvrditi koliko je islam kao vjera utjecao na islamsku umjetnost. Neizbježna tema u tretiranju islamske umjetnosti kao fenomena jeste zabrana prikazivanja likova, o čemu također govori jedan dio rada. Cilj teksta nije ponuditi konačne odgovore, već započeti dijalog o nekim temama koje se dotiču islamske umjetnosti, a svaki od podnaslova zaslužuje biti predmetom izdvojene studije.
Ključne riječi: islam, islamska umjetnost, historija umjetnosti
Abstract: This paper examines a number of very common themes in Islamic art and relates them to its nature, sources, principles, and artistic character. Particular attention is paid to the relationship between Islam and art and to determing the extent to which Islam as a faith has influenced Islamic art. As one can hardly pass over in silence the ban on representing persons, when dealing with Islamic art as a phenomenon, that too is discussed at the appropriate point in the paper. This paper involves no attempt to offer final answers, the author’s hope being to initiate dialogue on themes affecting Islamic art. A satisfactory treatment of the topics of the subsections would require a series of dedicated studies.
Dervišević, Haris. ''Kaligrafija Gazi Husrev-begovog i Murat-begovog turbeta u Sarajevu'', u: Ana... more Dervišević, Haris. ''Kaligrafija Gazi Husrev-begovog i Murat-begovog turbeta u Sarajevu'', u: Anali Gazi Husrev-begove biblioteke, Knjiga XXXVI. Sarajevo : Gazi Husrev-begova biblioteka, 2015., 201-222.
Text draws attention to the calligraphic cycles in turbes of Gazi Husrevbey and Murad-bey in Sarajevo. Through comparative analysis considering the artistic style, author came to the conclusion that three calligraphers were involved in decorating the turbes: Hadži Hafiz Husejn Rakim-efendi Islamović, Ali-efendi Faginović and Akif-efendi Hadžihuseinović. The works of the first two are found in the Gazi Husrev-bey turbe, eight inscriptions of Islamović and sixteen of Faginović, while seven calligraphic inscriptions of Hadžihuseinović are placed in turbe of Murad-bey. Calligraphers chose gali tulut script as best appropriate for the calligraphic composition. On the basis of colors and forms, inscriptions could be classified into two groups: the group of spherical inscription with golden letters on the green background (Islamović, Hadžihuseinović) and the group of inscriptions with gold letters on white (Faginović). Calligraphy in turbes was done between the 1893rd and 1895th. This work is a small step in the field of Islamic art in Bosnia and Herzegovina during the Austro-Hungarian period. Its main goal is to draw attention to the unknown field.
Keywords: Islamic calligraphy, Gazi Husrev-bey, Rakim Islamović, Ali Faginović, Akif Hadžihuseinović
Dervišević, Haris. ''Ešref Kovačević (1924.-1996.): kaligrafska ostavština'', u: Godišnjak BZK Pr... more Dervišević, Haris. ''Ešref Kovačević (1924.-1996.): kaligrafska ostavština'', u: Godišnjak BZK Preporod, God. XVI (2016.), Sarajevo : Bošnjačka zajednica kulture Preporod, 2016., 443-453.
Ešref Kovačević was prominent Bosniak historian, researcher, translator and calligrapher. His legacy in the field of the Ottoman history of Bosnia and Herzegovina is well known to the academic community, while the general public knows his poem in the honor of Muhamed (saws), calligraphy and transcription of the Holy Qur’an. This review begins with his short biography while the focus will be on his calligraphy heritage. The intention of the author is to initiate further research and aesthetic evaluation of the Kovačević calligraphy still waiting for the monograph. The number of art works, places they are found shows that Kovačević was an unusually productive calligrapher.
Every metropolis has its landmark. Paris has the Eiffel Tower, London its Big Ben, the Brandenbur... more Every metropolis has its landmark. Paris has the Eiffel Tower, London its Big Ben, the Brandenburg Gate is Berlin’s famous historical monument and New York is known for the Statue of Liberty. Sarajevo, the capital of Bosnia and Herzegovina, has also something to be proud of – the Gazi Husrev Beg Mosque, a 16th century Ottoman masterpiece. No visit to Sarajevo would be complete without seeing this Mosque and its surroundings.
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Papers by Haris Dervisevic
Sažetak: Rad preispituje najčešće teme islamske umjetnosti koje se dotiču njene naravi, izvora, načela i likovnosti. Poseban osvrt daje se na odnos između islama i umjetnosti, odnosno nastojalo se utvrditi koliko je islam kao vjera utjecao na islamsku umjetnost. Neizbježna tema u tretiranju islamske umjetnosti kao fenomena jeste zabrana prikazivanja likova, o čemu također govori jedan dio rada. Cilj teksta nije ponuditi konačne odgovore, već započeti dijalog o nekim temama koje se dotiču islamske umjetnosti, a svaki od podnaslova zaslužuje biti predmetom izdvojene studije.
Ključne riječi: islam, islamska umjetnost, historija umjetnosti
Abstract: This paper examines a number of very common themes in Islamic art and relates them to its nature, sources, principles, and artistic character. Particular attention is paid to the relationship between Islam and art and to determing the extent to which Islam as a faith has influenced Islamic art. As one can hardly pass over in silence the ban on representing persons, when dealing with Islamic art as a phenomenon, that too is discussed at the appropriate point in the paper. This paper involves no attempt to offer final answers, the author’s hope being to initiate dialogue on themes affecting Islamic art. A satisfactory treatment of the topics of the subsections would require a series of dedicated studies.
Key words: Islam, Islamic art, History of Art
Text draws attention to the calligraphic cycles in turbes of Gazi Husrevbey and Murad-bey in Sarajevo. Through comparative analysis considering the artistic style, author came to the conclusion that three calligraphers were involved in decorating the turbes: Hadži Hafiz Husejn Rakim-efendi Islamović, Ali-efendi Faginović and Akif-efendi Hadžihuseinović. The works of the first two are found in the Gazi Husrev-bey turbe, eight inscriptions of Islamović and sixteen of Faginović, while seven calligraphic inscriptions of Hadžihuseinović are placed in turbe of Murad-bey. Calligraphers chose gali tulut script as best appropriate for the calligraphic composition. On the basis of colors and forms, inscriptions could be classified into two groups: the group of spherical inscription with golden letters on the green background (Islamović, Hadžihuseinović) and the group of inscriptions with gold letters
on white (Faginović). Calligraphy in turbes was done between the 1893rd
and 1895th. This work is a small step in the field of Islamic art in Bosnia and Herzegovina during the Austro-Hungarian period. Its main goal is to draw attention to the unknown field.
Keywords: Islamic calligraphy, Gazi Husrev-bey, Rakim Islamović, Ali
Faginović, Akif Hadžihuseinović
Ešref Kovačević was prominent Bosniak historian, researcher, translator and calligrapher. His legacy in the field of the Ottoman history of Bosnia and Herzegovina is well known to the academic community, while the general public knows his poem in the honor of Muhamed (saws), calligraphy and transcription of the Holy Qur’an. This review begins with his short biography while the focus will be on his calligraphy heritage.
The intention of the author is to initiate further research and aesthetic evaluation of the Kovačević calligraphy still waiting for the monograph. The number of art works, places they are found shows that Kovačević was an unusually productive calligrapher.
Keywords: Ešref Kovačević, Islamic calligraphy, anniversary, bibliography
Sažetak: Rad preispituje najčešće teme islamske umjetnosti koje se dotiču njene naravi, izvora, načela i likovnosti. Poseban osvrt daje se na odnos između islama i umjetnosti, odnosno nastojalo se utvrditi koliko je islam kao vjera utjecao na islamsku umjetnost. Neizbježna tema u tretiranju islamske umjetnosti kao fenomena jeste zabrana prikazivanja likova, o čemu također govori jedan dio rada. Cilj teksta nije ponuditi konačne odgovore, već započeti dijalog o nekim temama koje se dotiču islamske umjetnosti, a svaki od podnaslova zaslužuje biti predmetom izdvojene studije.
Ključne riječi: islam, islamska umjetnost, historija umjetnosti
Abstract: This paper examines a number of very common themes in Islamic art and relates them to its nature, sources, principles, and artistic character. Particular attention is paid to the relationship between Islam and art and to determing the extent to which Islam as a faith has influenced Islamic art. As one can hardly pass over in silence the ban on representing persons, when dealing with Islamic art as a phenomenon, that too is discussed at the appropriate point in the paper. This paper involves no attempt to offer final answers, the author’s hope being to initiate dialogue on themes affecting Islamic art. A satisfactory treatment of the topics of the subsections would require a series of dedicated studies.
Key words: Islam, Islamic art, History of Art
Text draws attention to the calligraphic cycles in turbes of Gazi Husrevbey and Murad-bey in Sarajevo. Through comparative analysis considering the artistic style, author came to the conclusion that three calligraphers were involved in decorating the turbes: Hadži Hafiz Husejn Rakim-efendi Islamović, Ali-efendi Faginović and Akif-efendi Hadžihuseinović. The works of the first two are found in the Gazi Husrev-bey turbe, eight inscriptions of Islamović and sixteen of Faginović, while seven calligraphic inscriptions of Hadžihuseinović are placed in turbe of Murad-bey. Calligraphers chose gali tulut script as best appropriate for the calligraphic composition. On the basis of colors and forms, inscriptions could be classified into two groups: the group of spherical inscription with golden letters on the green background (Islamović, Hadžihuseinović) and the group of inscriptions with gold letters
on white (Faginović). Calligraphy in turbes was done between the 1893rd
and 1895th. This work is a small step in the field of Islamic art in Bosnia and Herzegovina during the Austro-Hungarian period. Its main goal is to draw attention to the unknown field.
Keywords: Islamic calligraphy, Gazi Husrev-bey, Rakim Islamović, Ali
Faginović, Akif Hadžihuseinović
Ešref Kovačević was prominent Bosniak historian, researcher, translator and calligrapher. His legacy in the field of the Ottoman history of Bosnia and Herzegovina is well known to the academic community, while the general public knows his poem in the honor of Muhamed (saws), calligraphy and transcription of the Holy Qur’an. This review begins with his short biography while the focus will be on his calligraphy heritage.
The intention of the author is to initiate further research and aesthetic evaluation of the Kovačević calligraphy still waiting for the monograph. The number of art works, places they are found shows that Kovačević was an unusually productive calligrapher.
Keywords: Ešref Kovačević, Islamic calligraphy, anniversary, bibliography