Anatomical evaluation of the new mosque fountain inscriptions and the comparison with mustafa rakim's style

ABSTRACT The aim of this thesis titled "Anatomical Evaluation of the New Mosque Fountain Writings and Comparison with Mustafa Râkım Style" is; the lack of a classical study in the world of calligraphy related to the jali sülüs calligraphy and to bring an analysis of the New Mosque fountain writings in terms of hendesi to the world of art. Although the studies are limited to the twelve-line fountain inscriptions, gestures, ornamental elements, Lafz-ı Celâl, İsmi Nebî and signature, the opinions of today's calligraphers have been taken and the style followed by Sâmi Efendi in the history of calligraphy has been compared with the writings of the master of calligraphy Mustafa Râkım Efendi. Although the architecture and the translation of the inscription have been included in the previous studies on the fountain, the artistic features of the inscription written by Calligrapher Sami Efendi in jali sülüs script have not been mentioned in detail and its calligraphic evaluation has not been made. In this context, with this study, first of all, a literature review was conducted, the fountain was examined on site and photographs were taken. The drawings were made in accordance with the original by accessing the original writings in the fine writing collection of Topkapı Palace Museum. In the inscription consisting of twelve parts, each line was evaluated within itself and the technical drawings of each letter forming these lines were made by taking the opinion of today's calligraphers. In order to minimize the margin of error in the drawings, the Autocad program was used. The drawings of the letters that appear repeatedly in different lines were made only once. Two or three drawings were made for each letter in order to make the measurements understandable and to avoid confusion. In the first drawing, the most visible features of the letter such as width and height were included in the first drawing, and in the second drawing, the depths created by the pen movements and the golden ratio harmony were included. Depending on the condition of the letter, angle values were included in the second or third drawing. Point was used as a dimensioning criterion. The angle values of the letter horizontally and vertically and the golden ratio harmonies were tried to be determined. In addition to these, all dimensioning studies applied to the letters were also applied to the gestures and decorative elements. In the evaluation section, a comparison is made between Sāmi Efendi and Mustafa Rākım Efendi, who was his successor, and an attempt is made to determine the differences in style. In order to make the comparison comprehensible, the drawings are given side by side with the same pencil thickness and supported by a table. Tables have been prepared in order to statistically present the number of gestures and ornamental elements in the lines. The content and stacking have been evaluated, and individual drawings of the inscription consisting of letters and decorative elements have been made. The stylized signature of Râkım Efendi and the signature used by Sâmi Efendi in the same style on the inscription are compared. As a result, the history of calligraphy from the time of the Prophet, the calligraphers who became schools in the Ottoman period, the life of Sami Efendi, the architectural features of the fountain, the technical drawings of all letters, gestures and decorative elements were made, supported by tables, and the differences in style with Mustafa Râkım Efendi were tried to be determined. Key Terms: Sebil, Hüsn-i Hat, Celî Sülüs, Architecture, Anatomy