Mehmed Esad Yesârî and his place in art of calligraphy

In this thesis, "Mehmed Esad Yesârî and his place in the art of the calligraphy" the writings of Mehmed Esad Yesârî were examined in the light of the principles of calligraphy. Yesârî is one of the leading representatives of ta'liq writing and has been instrumental in the education of many students. In fact, nesta'liq writing, which first appeared in Iran, made a great progress after entering the Ottoman geography and became increasingly widespread. Although Yesârî produced works under the influence of his teacher Dedezâde Mehmed Said Efendi and Iranian calligrapher Mîr İmâd-i Hasenî, he later made radical changes in the Iranian nesta'liq script and laid the foundations of the Turkish ta'liq style with a new approach. However, the calligrapher, was called Imad-i Rûm in the early stages of his artistic life, especially because he produced works under the influence of the Iranian calligrapher Mîr İmâd-i Hasenî. The real success of Yesârî, who produced extremely beautiful works in various fields of calligraphy, can be seen in his writings with celî ta'lik. It is known that the celi ta'liq inscriptions in the architectural works built by the sultans and some statesmen during the reigns of Abdulhamid I and Selim III were written by Yesârî. Since 1780/81, Mehmed Esad Yesârî started to give very good writing examples with his new style. The inscription of the Hacı Selim Ağa Library dated 1781/82 is accepted as the turning point and the first beautiful example of the Turkish ta'liq calligraphy. In this inscription, Yesari removed the sagging of the letter bowls seen in the Iranian school, paid attention to the coherence of the duplicate letters, adjusted the distance between the letters and took care to place them on the line. As a result, it is possible to say that the rules of the Turkish ta'lîq style began to be formed with this inscription, and because of these features, the inscription in question can be considered as the first step of the Turkish ta'liq calligraphy. The study is limited to a total of one hundred and three works, seventy-seven of which are with or without a plate, consisting of hilyes, plates, kıtas, murakka's, inscriptions and nişan stones. In the compilation of these works, the studies named "Osmanlı Hat Sanatı Tarihi, Hat Sanatı ve Meşhur Hattatlar, Ömrümün Bereketi 1, Türk Hattatları, İstanbul'un Son Nişan Taşları, İstanbul'un 100 Hattatı, Türk Hat Sanatından Seçmeler, Fennül-Hat ve Hat Sanatı Tarihi 2" has been used.