Tughra
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Recent papers in Tughra
The tughra (insignia) has a characteristic form, therefore there is no big difference in terms of its calligraphic composition. Calligraphers drew tughras in the frame of the rules set by the noted calligrapher Râkim. Although no official... more
The tughra (insignia) has a characteristic form, therefore there is no big difference in terms of its calligraphic composition. Calligraphers drew tughras in the frame of the rules set by the noted calligrapher Râkim. Although no official records state that Şefik Bey was assigned as a tughrakash (or nişancı, a person who draws tughras), it is intriguing to observe that Şefik Bey drew tughras on behalf of the sultan.
In many foundation works that belong to the sultans, it can be observed that the inscriptions and the tughras were written and drawn by different calligraphers. The tughra could only be drawn by certain calligraphers with official permission. However, resources reveal that despite not holding a nişancı title, Şefik Bey still drew tughras on the behalf of the sultan.
Abdülfettah Efendi, a contemporary of Şefik Bey, was known to be a tughrakash who produced the tughras of that era, but the fact that Şefik Bey drew the sultan's insignia at the same period may suggest that he was granted special permission for a short period of time.
To our knowledge, four tughras carry Şefik Bey’s signature. The first one is the tughra of Sultan Murad V and is located in Topkapı Palace, the second one is the tughra of Sultan Abdülmecid and is on the entrance gate of Dolmabahçe Palace, the third tughra is on the entrance gate of Teşvikiye Mosque, and the fourth tughra is on the fountain of Hacı Küçük Mosque in Sultanhamam. This study aims to investigate the unknown aspect of Şefik Bey as a tughrakash and whether or not he had the permission to officially draw tughras which are not mentioned in written resources.
In many foundation works that belong to the sultans, it can be observed that the inscriptions and the tughras were written and drawn by different calligraphers. The tughra could only be drawn by certain calligraphers with official permission. However, resources reveal that despite not holding a nişancı title, Şefik Bey still drew tughras on the behalf of the sultan.
Abdülfettah Efendi, a contemporary of Şefik Bey, was known to be a tughrakash who produced the tughras of that era, but the fact that Şefik Bey drew the sultan's insignia at the same period may suggest that he was granted special permission for a short period of time.
To our knowledge, four tughras carry Şefik Bey’s signature. The first one is the tughra of Sultan Murad V and is located in Topkapı Palace, the second one is the tughra of Sultan Abdülmecid and is on the entrance gate of Dolmabahçe Palace, the third tughra is on the entrance gate of Teşvikiye Mosque, and the fourth tughra is on the fountain of Hacı Küçük Mosque in Sultanhamam. This study aims to investigate the unknown aspect of Şefik Bey as a tughrakash and whether or not he had the permission to officially draw tughras which are not mentioned in written resources.
Afyonkarahisar'ın Dinar ilçesi, Bademli Köyü'ndeki Bademli Cami Geç Osmanlı dönemine tarihlenmektedir. Anadolu'da birçok şehirde olduğu gibi Afyonkarahisar'da da bu dönem etkileriyle bezenmiş camiler vardır. Bademli Cami yoğun bir bezeme... more
Afyonkarahisar'ın Dinar ilçesi, Bademli Köyü'ndeki Bademli Cami Geç Osmanlı dönemine tarihlenmektedir. Anadolu'da birçok şehirde olduğu gibi Afyonkarahisar'da da bu dönem etkileriyle bezenmiş camiler vardır. Bademli Cami yoğun bir bezeme programına sahip olması ve bezemelerinin özgün niteliklerini koruması açısından önemli bir örnek teşkil etmektedir. Ahşap direkli, düz ahşap tavanlı bu caminin kârgir duvarları sıva üzerine renkli kalem işleriyle bezenmiştir. Bunlar arasında en dikkat çeken kalem işi son cemaat yerindeki Sultan II. Abdülhamid'in tuğrasıdır. Bunun yanı sıra caminin giriş kapısından içeriye doğru devam eden yazı programı, 20. yüzyıl başında mekândaki ibadetin sembolik yansımasının nasıl algılandığını göstermesi açısından önemlidir. Caminin mimari özellikleri ile beraber çeşitli süslemelerden oluşan kalem işleri bu çalışmanın konusunu oluşturmaktadır. Çalışmada; hem bakım ve onarım eksikliğine hem de kullanıma bağlı koruma sorunları yaşayan Bademli Cami'nin sahip olduğu özgün niteliklerin korunması için koruma önerileri de verilmektedir. Bu konuda makale yazarları tarafından 2018 yılında hazırlanan koruma projesinden yararlanılmıştır.
Dinar-Bademli Mosque: Architectural Characteristics and Hand-Made Decorations on Plaster
Bademli Mosque, in Bademli village of Afyonkarahisar, dates back to the late Ottoman period. In Afyonkarahisar, as in many other Anatolian cities, the influence of this period is visible in the adorning of mosques. Bademli Mosque is an important example as it has an extensive decoration program and preserves its original features. The mosque has timber posts and a flat roof, clad with timber. Its walls are adorned with colorful handmade decorations on plaster, the most noticeable one being Sultan Abdülhamid II's tughra in the last prayer hall. In addition, the calligra-phy program that extends inward from the entrance of the mosque is remarkable in that it shows how the symbolic reflection of worship in the place was perceived at the beginning of the 20th century. The present study focuses on the mosque's rich handmade decorations, as well as its architectural characteristic. The study also provides suggestions for the preservation of the unique features of the Bademli Mosque, which have been poorly protected due to user-related problems and a lack of maintenance and repair. In this context, preservation project proposed by the authors in 2018 was used as a reference.
Dinar-Bademli Mosque: Architectural Characteristics and Hand-Made Decorations on Plaster
Bademli Mosque, in Bademli village of Afyonkarahisar, dates back to the late Ottoman period. In Afyonkarahisar, as in many other Anatolian cities, the influence of this period is visible in the adorning of mosques. Bademli Mosque is an important example as it has an extensive decoration program and preserves its original features. The mosque has timber posts and a flat roof, clad with timber. Its walls are adorned with colorful handmade decorations on plaster, the most noticeable one being Sultan Abdülhamid II's tughra in the last prayer hall. In addition, the calligra-phy program that extends inward from the entrance of the mosque is remarkable in that it shows how the symbolic reflection of worship in the place was perceived at the beginning of the 20th century. The present study focuses on the mosque's rich handmade decorations, as well as its architectural characteristic. The study also provides suggestions for the preservation of the unique features of the Bademli Mosque, which have been poorly protected due to user-related problems and a lack of maintenance and repair. In this context, preservation project proposed by the authors in 2018 was used as a reference.
- by Aslıhan Ece Paköz and +2
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- Mosque Architecture, Afyonkarahisar, Mosques, Dinar