Islamic Calligraphy(Husn-i Hat)
Calligraphy is a spiritual geometry produced by material implements.
One day, the world famous painter Picasso saw the work of a master calligrapher and could not help crying "This is art!" because of the authentic aesthetic he witnessed: Islamic Calligraphy.
There are basically six styles in Islamic Calligraphy. Also known as "Aklam-i Sitte", "Seskalem", These styles are "Sulus,Nesih, Muhakkak, Reyani, Tevki ve Rika" and are considered to be developed by the famous calligrapher Yakut in Baghdad of the 13th Century. However, the art of islamic calligraphy had its own rules set and developed by the great master of Fatih’s reign, Seikh Hamdullah of Amasya, The other styles of Islamic Calligraphy are “Kufi, Rik’a, Divani, Siakat”.
Having been trained by the most prominent calligraphers of the century such as Ismail Hakki Altunbezer, Kemal Akdik, Neyzen Emin Yazici, Necmettin Okyay, Mustafa Halim Ozyazici, Macit Ayral, Rakim Efendi, Sami Efendi, Kemal Batanay, Hamit Aytac, Emin Barin and Sadi Belger, our contemporary calligrapher are striving to develop and carry this art to the next century, Among these contemporary calligraphers are Master Hasan Celebi, Master Fuat Basar, Osman Yayla , Ali Toy, Mehmet Memis and Ahmet Zeki Yavas.
One of its best examp les with Hagia Sophia Tablets made by Kadiasker Mustafa Izzet Efendi.
Illumination(Tezhib)
The word “tezhib” originally comes from Arabic meaning the art of embellishing handwritten books such as the Holly Quran (heading and overleaf inscriptions), the Divan, Tablets, firmans, stanzas and berats (deeds of privilege) with guild and dyes. The artist who practices this art is called “Muzehhib”.
The origin of illumination extends to the Uygur Turk. The works of Turkish and Persian masters have made way to “Heart Style” starting in the second half of the 15th and ending in the beginning of the 17th century. Numerous artists trained in the imperial Decoration School (Nakkashane), namely Baba Nakkas had given the unparalleled products of Turkish illumination art. After being employed in embellishing the official documents, the art of illumination led its sharpest and brightest era with the support of the Imperial Palace.
Despite marked evolutions after the 18th century under the influence of baroque and rococo movements, the eventual beauty of the final product was not impaired at all.
Islamic Calligraphy on Processed Leaves
The leaves, among which poplar and chestnut leaves were the mostly preferred, collected during a special period of the year and subjected to a conservation treatment, are used only after one year. The calligraphy composition is applied on the dressed leaves by using linseed oil soot made exclusively by the artist for that work.
Leaf symbolizes the unity of the universe in the Islamic mysticism. Similar to the existence of the macro characteristics of the universe in every human, the leaf itself bears part of the soul and cycle of the tree and the nature as well. Calligraphy on leaves unifies with the universe.
The remarkable and symbolic similarity of the leaf to the heart has been a major factor in respect of this branch of calligraphy. The direct relationship between this philosophical concept and the human beings together with their beliefs takes start with this form.
Calligraphy works on leaves is one of the major contributions of the Turkish art to the Islamic art. Among the several compositions made of one three, five, seven, nine and eleven leaves, the single-leaf was most commonly used and preferred for its plain but powerful expressive aspect.
Miniature(Minyatur)
Originally seen in the Central Asia and Far East in the 6th century in mani drawings, miniature entered its process of development with the Turks coming to Anatolia and reached its golden age in the 16th century as ottomans highly honored this branch of art as well as many others.
In general, scenes of war and hunting and historical events are miniaturized as ornaments of manuscripts gaining them a documentary quality. Matrakci Nasuh and Levni, who give us indications of the urban planning and dressing concepts of the era are to these miniatures of documentary quality.
Miniature is basically divided into Ottoman and Persian styles, where the Ottoman style prefers a more plan expression emphasizing the documentary aspect and the Persian style uses a highly rich and complex expression and detailing. Their common and basic characteristic is their 2D expression reaped of light and shadow effects and perspective, which characteristic is the definition of miniature.
Applied on many base materials such as paper, ivory and marble, the miniatures attract a global interest with born the originals and imitated or authentic new compositions.
Tugra
The most striking feature in the official documents emanating from the Divan is the “Tugra”, the intricate device which has been defined as the “official monogram of the Sultan” attached to instruments for purposes of legalization. It becomes from the word “tugrag” meaning the “monogram and order of emperor” in Gagauz Turkish.
Employed at first only upon written documents, its use was later extended to seals, coins, postage-stamps and inscriptions. Various theories have been advanced to explain the shape of “tugra”. One suggestion was that it represented the shape of a falcon-like fabulous bird, called “tugri” and that this was the totem of the gagauz Turks.
Holding one of the most eminent places in Turkish handcrafts, tugra has matchless examples applied on paper as well as silk and leather. Verses, hadiths and some sayings written in the form of tugra attract a great deal of interest from lovers of art.
Ferman 
The word “Ferman” comes from Persian word “fermudan” meaning a command or order.
Used by the Ilhans after adopting Islam, this word then entered the diplomatic life of the Ottoman Empire. The meaning of Ferman is a command, on whatever matter, issued by the sultan and bearing the tgra, which, in itself is referred to as Alamet-I Serif”
Traditionally written in Divan style calligraphy, Fermans were composed of the following parts:
The top part consistent of the invitation, which is a prayer followed by the tugra below
and the text of the ferman ot the lowest part. These fermans contain the names and titles of the addressee with words of appreciation, the introduction part, reason of the ferman, the order of sultan, explanation, warnings, word of insistence and the date.
The fermans which bear the handwriting of the sultan are called “Ferman-i Humayun”.
Today, both antique fermansand their imitations raise great interest among people. The copies of fermans which are required to be written with the Divan calligraphy style are prepared by master calligraphers using inks and pens identical to those used in the original version.
Marbling(Ebru)
Etymologically originating from the word “ebr” in Persian, which means “cloud”, marbling can be defined as water face painting
A mixture of “tragacanth” (a gummy substance derived from shrubs) and water is prepared in a large mouthed vessel. The powder paints sprinkled onto the surface of water and tragacanth mixture are transferred to a piece of raw and absorbing paper suitable for the application. Maximum care should be taken while laying and lifting the absorbing paper not to smear the upper surface.
The master of marbling art made his brushes from rose stem and horse tail and generally created his compositions using the traditional patterns. However, if the master creates a unique pattern of his own, such pattern is named after him after general acceptance of his work. Examples of such denominations are barut marbling (Hikmet Barutcugil) and Necmeddin ebrusu (Necmettin Okyay)
Akkase ebru, ebrulu akkase, battal ebru, somaki ebru, hafif ebru, tarli ebru, gelgit ebru, yazili ebru are other acquired denominations.
Engraving(Gravur)
Engraving started off delivering great works as of 15th century, especially with Albrecht Durer (1471-1528). Actually until Albrecht Durer, engraving had not been adequately defined to acquire a separate identity.
Engraving is a type of art applied with using the method of engraving. The design is drawn on the surface of the soft ores like copper, zinc and brass, by engraving with tempered steel-pointed pens; or by transferring the drawing onto the paper with print ink. There are plenty of different techniques involved in engraving.
For example the drawing can be done on the lacquer, which the metal plate can be covered with. The plate is placed into acid. The acid created cavities as it moves along the drawing lines on the lacquer layer and reaches the metal. The design is transferred onto a special paper by a technique called photo gravure.
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