{"id":3754,"date":"2023-02-27T11:36:24","date_gmt":"2023-02-27T08:36:24","guid":{"rendered":"https:\/\/arts.ircica.org\/uncategorized-tr\/the-art-of-calligraphy"},"modified":"2023-03-29T13:39:28","modified_gmt":"2023-03-29T10:39:28","slug":"hat-sanati","status":"publish","type":"post","link":"https:\/\/arts.ircica.org\/tr\/hakkimda\/hat-sanati","title":{"rendered":"Hat Sanat\u0131"},"content":{"rendered":"<p><em>H\u00fcsn-i hat<\/em>, g\u00fczel yaz\u0131 yazma sanat\u0131, \u0130slam medeniyeti i\u00e7inde kendine has \u00f6zelliklerle geli\u015fmi\u015ftir. Kur\u2019an-\u0131 Kerim\u2019i do\u011fru ve g\u00fczel yazma gayretleri h\u00fcsn-i hatta t\u00fcm sanatlar aras\u0131nda \u00f6zel bir konum kazand\u0131rm\u0131\u015ft\u0131r. Kur\u2019an\u2019\u0131n Arap\u00e7a indirilmi\u015f olmas\u0131n\u0131n sonucu olarak Arap yaz\u0131s\u0131yla yaz\u0131lm\u0131\u015f hat sanat\u0131 M\u00fcsl\u00fcman toplumlarda &#8220;\u0130slam hat sanat\u0131&#8221; olarak alg\u0131lanm\u0131\u015ft\u0131r.<\/p>\n<p>Tarih boyunca M\u00fcsl\u00fcman toplumlar\u0131n hattatlar\u0131 levhalarda, kitabelerde Kur\u2019an-\u0131 Kerim ayetlerini, Hz. Muhammed\u2019in<sup>s.a.v.<\/sup> hadislerini, Arap\u00e7a yaz\u0131lm\u0131\u015f \u00f6zdeyi\u015fleri, \u015fiirleri ve edeb\u00ee metinleri kullanm\u0131\u015flard\u0131r. Hattat k\u00e2tipler resm\u00ee belgeleri sanatk\u00e2rane yazm\u0131\u015f, zanaatk\u00e2rlar mimar\u00ee eserlere yaz\u0131lar nak\u015fetmi\u015ftir. Farkl\u0131 yaz\u0131 stilleri geli\u015ftirilmi\u015f, her biri i\u00e7in kaideler konmu\u015ftur. Emev\u00eeler d\u00f6neminde kalem ucu \u00f6l\u00e7\u00fcleri tespit edilmi\u015f, farkl\u0131 uygulamalar i\u00e7in stiller geli\u015ftirilmi\u015ftir. Abbas\u00ee veziri \u0130bn-i Mukle\u2019nin (886-940) noktay\u0131 \u00f6l\u00e7\u00fc kabul ederek ger\u00e7ekle\u015ftirdi\u011fi uygulama yaz\u0131n\u0131n as\u0131l geli\u015fimini sa\u011flam\u0131\u015ft\u0131r. Abbas\u00ee halifesi Mustas\u0131m\u2019\u0131n saray hattat\u0131 olan Y\u00e2kut el-Musta\u2019s\u0131m\u00ee (? &#8211; 1298) \u0130bn-i Mukle\u2019nin tespit etti\u011fi <em>aklam-\u0131 sitte<\/em>\u2019nin (\u201calt\u0131 yaz\u0131\u201d, tam deyi\u015fle \u201calt\u0131 kalem\u201d) yani <em>s\u00fcl\u00fcs, nesih<\/em>, <em>tevk\u00ee\u2019, r\u0131ka\u2019, muhakkak <\/em>ve<em> reyhan\u00ee<\/em> yaz\u0131lar\u0131n\u0131n kaidelerini standartla\u015ft\u0131rm\u0131\u015f, o zamana kadar d\u00fcz \u015fekilde kesilen kam\u0131\u015f kalemin a\u011fz\u0131n\u0131 meyilli kesmek suretiyle yaz\u0131ya ho\u015fluk katm\u0131\u015ft\u0131r. Abbas\u00eelerden sonra T\u00fcrkler ve \u0130ranl\u0131lar taraf\u0131ndan da yaz\u0131n\u0131n geli\u015ftirilmesi s\u00fcrd\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Anadolu Sel\u00e7uklular\u0131 <em>k\u00fbf\u00ee, muhakkak<\/em> ve <em>cel\u00ee s\u00fcl\u00fcs<\/em> yaz\u0131lar\u0131n\u0131 mimar\u00ee eserlerde \u00e7ok\u00e7a kullanm\u0131\u015flard\u0131r. Hat sanat\u0131 Osmanl\u0131 d\u00f6neminde T\u00fcrk Hat Sanat\u0131 denecek kadar ay\u0131rt edici \u00f6zellikler ta\u015f\u0131r hale gelmi\u015ftir. H\u00fcsn-i hatta T\u00fcrk \u00fcsl\u00fbbunu ba\u015flatan \u015eeyh Hamdullah (1429 &#8211; 1520), Y\u00e2kut\u2019un harflerini inceleyip aralar\u0131ndan en g\u00fczel olanlar\u0131n\u0131 se\u00e7erek yeni bir tarz meydana getirmi\u015ftir. B\u00f6ylelikle hat sanat\u0131nda \u00e7\u0131\u011f\u0131r a\u00e7an \u015eeyh Hamdullah hat sanat\u0131n\u0131n p\u00eeri say\u0131lm\u0131\u015f ve kendisine \u201cK\u0131blet\u00fc\u2019l-Hatt\u00e2t\u00een\u201d (hattatlar\u0131n k\u0131blesi) denilmi\u015ftir. Onunla d\u00f6neminde mushaf yaz\u0131m\u0131nda metin i\u00e7inde tek \u00e7e\u015fit yaz\u0131 kullan\u0131m\u0131 benimsenmi\u015f, <em>s\u00fcl\u00fcs<\/em> ve <em>nesih<\/em> yaz\u0131lar\u0131 yayg\u0131nla\u015fm\u0131\u015ft\u0131r. 19. y\u00fczy\u0131lda, yaz\u0131da g\u00fcn\u00fcm\u00fcze kadar gelen bir mektep sahibi olan Mustafa R\u00e2k\u0131m (1758 -1826) <em>cel\u00ee<\/em> yaz\u0131lar\u0131n ideal \u00f6l\u00e7\u00fclerini bulmu\u015ftur. S\u00fcl\u00fcs ve nesihten sonra en yayg\u0131n yaz\u0131 olan <em>nesta\u2019lik<\/em> ise \u0130ran sahas\u0131nda geli\u015fmi\u015f, i\u015flek tarz\u0131 dolay\u0131s\u0131yla edeb\u00ee eserlerin yaz\u0131m\u0131nda ve <em>cel\u00ee \u015fekliyle <\/em>mimar\u00eede kullan\u0131lm\u0131\u015ft\u0131r. Matbaan\u0131n icad\u0131ndan sonra h\u00fcsn-i hat hocadan \u00f6\u011frenciye \u00f6\u011fretilmeye, g\u00fczel sanatlar\u0131n zirvelerinde takdir edilmeye devam etmi\u015ftir.<\/p>\n<p>Hat sanat\u0131 g\u00fcn\u00fcm\u00fczde tezhip ve di\u011fer kitap sanatlar\u0131yla beraber \u0130slam \u00fclkelerinin sanat okullar\u0131nda okutulan temel disiplinlerden biridir. \u00d6zg\u00fcn felsefesi ve estetik \u00f6zellikleriyle \u0130slam hat sanat\u0131 \u0130slam d\u00fcnyas\u0131n\u0131n i\u00e7inde ve d\u0131\u015f\u0131nda \u00e7e\u015fitli k\u00fclt\u00fcrlere mensup sanatseverlerin ilgisine ve be\u011fenisine mazhar olmaktad\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>H\u00fcsn-i hat, g\u00fczel yaz\u0131 yazma sanat\u0131, \u0130slam medeniyeti i\u00e7inde kendine has \u00f6zelliklerle geli\u015fmi\u015ftir. Kur\u2019an-\u0131 Kerim\u2019i do\u011fru ve g\u00fczel yazma gayretleri h\u00fcsn-i hatta t\u00fcm sanatlar aras\u0131nda \u00f6zel bir konum kazand\u0131rm\u0131\u015ft\u0131r. Kur\u2019an\u2019\u0131n Arap\u00e7a indirilmi\u015f olmas\u0131n\u0131n sonucu olarak Arap yaz\u0131s\u0131yla yaz\u0131lm\u0131\u015f hat sanat\u0131 M\u00fcsl\u00fcman toplumlarda &#8220;\u0130slam hat sanat\u0131&#8221; olarak alg\u0131lanm\u0131\u015ft\u0131r. Tarih boyunca M\u00fcsl\u00fcman toplumlar\u0131n hattatlar\u0131 levhalarda, kitabelerde Kur\u2019an-\u0131 Kerim ayetlerini, Hz. Muhammed\u2019ins.a.v. hadislerini, Arap\u00e7a yaz\u0131lm\u0131\u015f \u00f6zdeyi\u015fleri, \u015fiirleri ve edeb\u00ee metinleri kullanm\u0131\u015flard\u0131r. Hattat k\u00e2tipler resm\u00ee belgeleri sanatk\u00e2rane yazm\u0131\u015f, zanaatk\u00e2rlar mimar\u00ee eserlere yaz\u0131lar nak\u015fetmi\u015ftir. Farkl\u0131 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"footnotes":""},"categories":[64],"tags":[],"class_list":["post-3754","post","type-post","status-publish","format-standard","hentry","category-hakkimda"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/posts\/3754","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/comments?post=3754"}],"version-history":[{"count":2,"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/posts\/3754\/revisions"}],"predecessor-version":[{"id":3767,"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/posts\/3754\/revisions\/3767"}],"wp:attachment":[{"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/media?parent=3754"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/categories?post=3754"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arts.ircica.org\/tr\/wp-json\/wp\/v2\/tags?post=3754"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}