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Of course... A composition tells us about the love and effort of an artist. We can also feel what kind of person the artist is by looking at a text.
At this point, I must ask the following question: How does a calligrapher reflect the artistic understanding of the geography in which he lives in his work? Can we talk about distinct regional style differences that distinguish a calligraphy work written in Bosnia from a calligraphy work written in Istanbul? If there is a commonality, how is this commonality achieved?
Of course there are differences but when we go through the Bosnian and Turkish WhatsApp Number List connections we see that there are many common points. By the way I have Turkish relatives on my mother's side. When I was little I felt my hand and line inclination, just like others have inclinations towards football or basketball I realized that I also have an inclination towards calligraphy. We need to approach and advance what Allah has bestowed in the right way.
It is obvious that the Quran was written and recorded in the most beautiful way in Turkey. Also, this art was manifested in Istanbul. We can say that the center of calligraphy is Istanbul. Only God knows the reason. However, this art was later transferred to different regions. I received my calligraphy education in Egypt. The founder of the education center is Sheikh Abdulaziz al-Rifai, who transferred his education and valuable knowledge from Turkey to Egypt. He transferred this art to Egypt. Afterwards, we also received education by benefiting from the books of famous calligraphers. For example, at that time, I was first introduced to Mehmed Shawki's Meshk work. Meshk literally means textbook. We also benefited from er-Rifai's Kaside-i Nuniyye work on how to write the nush and sülüs styles. Seeing er-Rifai's works live was a blessing that excited me even more during my student days. I have never seen such beautiful letters in my life! There is an incredible harmony. I never got tired of going and watching them over and over again. His works were first in the director's office and then they were taken to a library, so I never got tired of going after those works.
In addition, calligraphy certainly reflects the understanding of art in the geography in which it is lived. In fact, this is somewhat related to society; what people are inclined to. For example, I noticed that in Turkey, great importance is given to the culture of cleanliness and the importance of details. These social sensitivities also show themselves in art; in sülüs or nesh. In Turkey, sülüs and nesh are the most common. Of course, other types of writing are also used in Turkey; divani, celil divani, talik… Talik is also called “Persian” in certain regions. For example, if we consider the talik script, the differences in the approaches of the Turks and Iranians are apparent in this script. In Iran, not much attention is paid to the contour and the appearance of the contour. In Turkey, the contour is more meticulous. However, the talik scripts in Iran are more natural, there is not much correction. It remains as natural as it fell on the paper; no corrections are made on it. The letters are more elegant in the talik script in Turkey. Both writings are perfect.
For example, in certain regions, instead of a single-measure pen, works are written with two pens of different sizes, thick and thin. We can see this in the Iraqi school. Here, it is necessary to mention Hashim al-Baghdadi. He is the author of the famous calligraphy book called Kavaid-u Hattu-l Arabi, which I also studied with. In the textbook, 5 different calligraphy scripts are handled at an extraordinary level: Nesh, sülüs, divani, talik... Talik, for example, is written with two different pens in this book. It also looks very nice. These diversities are not negative, on the contrary, they show how the given effort leads one to analyzes. Each of these analyzes is beautiful.
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