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{{short description|Ottoman calligrapher and poet |
{{short description|Ottoman calligrapher and poet}} |
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Esmâ Ibret Hanim ( |
'''Esmâ Ibret Hanim''' (born 1780) was an Ottoman calligrapher and poet, noted as the most successful female calligrapher of her day.<ref name="Cikar 2011">{{cite book | last=Cikar | first=J. | title=Türkischer Biographischer Index | publisher=De Gruyter | year=2011 | isbn=978-3-11-096577-3 | url=https://books.google.com/books?id=hKg-rQcBNXsC&pg=PA362 | language=de | access-date=25 October 2018 | page=362}}</ref> |
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[[File:Hilye |
[[File:Hilye-i Saadet by Esmâ Ibret.jpg|thumb|Hilye-i sharif, written by the sülüs-nesih line, by Esmâ İbret Hanım. [[Museum of Turkish and Islamic Arts]]]] |
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== Life and work == |
== Life and work == |
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In the 18th-century Ottoman period, calligraphy was |
In the 18th-century Ottoman period, calligraphy was a male-dominated profession. However, a small number of female calligraphers, such as Esmâ Ibret and Şerife Fatma, successfully trained as calligraphers and were able to make valuable contributions in their field.<ref>Emel Doğramacı ''Status of Women in Turkey'' Meteksan, 1984, p. 168</ref> |
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Esmâ Ibret Hanim was born in Istanbul in 1194 (1780).<ref>Turkish Biographical Index, Walter de Gruyter, 2011, p. 362</ref> Her father was Serhasekiyan-i hassa Ahmed Ağa, an official in the Royal Palace. She was an only child, and special attention was given to her education. From early childhood she showed an interest in calligraphy, writing in sülüs-nesih and icâzet and copying the work of [[Mahmud Celaleddin Efendi|Mahmud Celâleddin Efendi]]. Her father liked to trick his friends by showing |
Esmâ Ibret Hanim was born in Istanbul in 1194 (1780).<ref>Turkish Biographical Index, Walter de Gruyter, 2011, p. 362</ref> Her father was Serhasekiyan-i hassa Ahmed Ağa, an official in the Royal Palace. She was an only child, and special attention was given to her education. From early childhood she showed an interest in calligraphy, writing in sülüs-nesih and icâzet and copying the work of [[Mahmud Celaleddin Efendi|Mahmud Celâleddin Efendi]]. Her father liked to trick his friends by showing her work and then watching his friends' amazed responses when they were told that his daughter was the scribe.<ref>M. Ugur Derman, "Esmâ Ibret" [Biographical Notes], ''Islam Encyclopedia'', [https://islamansiklopedisi.org.tr/esma-ibret Online (in Turkish):]</ref> |
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At the age of 10, her father sent her to Sheikh Murad Derwish Lodge where she studied with the leading calligraphers of the day, including [[İsmail Zühdi Efendi|Zühdi]], İbrahim Şefik and Mahmud Celaleddin.<ref>İbnül Emin Mahmud Kemal İnal, ''Son Hattatlar'' [Last Calligraphers], Istanbul, 1970, p. 87</ref> By the age of 15, her talent was widely recognised amongst family and friends. When she was aged 16, she was given the title of "Ibret" which indicated that she has mastered her lessons.<ref>Istanbul Kadun Muzesi [http://www.istanbulkadinmuzesi.org/en/esma-ibret-hanim/?tur=Alfabetik Online:]</ref> |
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| ⚫ | Her calligraphy master, Mahmud Celâleddin was initially reluctant to take on a female student. However, he was shown a book prepared by Esmâ Ibret, and deemed it to be so good and so uncharacteristically "female" that at first he did not believe it was her work. On investigation however, he was persuaded of her talent and accepted her as a pupil. Esmâ Ibret and Mahmud Celaleddin subsequently married, in spite of an age gap of some 30 years.<ref>M. Uğur Derman, ''Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection, Istanbul'', New York, Metropolitan Museum of Art, 1998, p. 108</ref> Her husband worked on revising the scripts, and developing new scripts such as "celi sülüs". However, Esmâ Ibret followed in the traditional style of [[Hâfiz Osman]], producing elegant work in the sülüs-nesih script.<ref>Şevket Rado, ''Türk Hattatları'' [Turkish Calligraphers], Istanbul, 1980, p.168: M. Ugur Derman, "The Art of Calligraphy in the Ottoman Regime", in: Ekmeleddin Ihsanoglu (ed.), ''History of Ottoman State and Civilisation'', II, Istanbul 2003, pp 645-652</ref> |
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| ⚫ | She wrote a hilye that was presented to [[Selim III]] and his mother, who were so impressed that they arranged for a grant of 500 [[Kuruş]] and a daily allowance of 500 [[Akçe]]s, to be paid by the Customs Office.<ref>Davis, F., Gurun, S. |
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| ⚫ | She wrote a [[Hilya|hilye]] that was presented to [[Selim III]] and his mother, who were so impressed that they arranged for a grant of 500 [[Kuruş]] and a daily allowance of 500 [[Akçe]]s, to be paid by the Customs Office.<ref>Davis, F., Gurun, S. and Esch, M.E., ''The Ottoman Lady: A Social History from 1718 to 1918'', Bruce Van Leer Greenwood Publishing Group, 1986 p, 225; Selçuk Mülayim, İlhan Akşit, ''Turkish Art and Architecture in Anatolia & Mimar Sinan'' Akşit, 2005, p. 264</ref> |
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==Work== |
==Work== |
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She is generally regarded as the finest female calligrapher of her era, and the first female to become a professional calligrapher.<ref>Kemal Çiçek, Ercüment Kuran, Nejat Göyünç, İlber Ortaylı, ''The Great Ottoman-Turkish Civilisation: Culture and Arts'', Yeni Türkiye, 2000; M. Uğur Derman, ''Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection, Istanbul'', New York, Metropolitan Museum of Art, 1998, p. 108</ref> Her work is only partially documented.<ref>David Simonowitz A Modern Master of Islamic Calligraphy and Her Peers Journal of Middle East Women's Studies (2010) 6 (1): 75-102.https://doi.org/10.2979.MEW.2010.6.1.75</ref> |
She is generally regarded as the finest female calligrapher of her era, and the first female to become a professional calligrapher.<ref>Kemal Çiçek, Ercüment Kuran, Nejat Göyünç, İlber Ortaylı, ''The Great Ottoman-Turkish Civilisation: Culture and Arts'', Yeni Türkiye, 2000; M. Uğur Derman, ''Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection, Istanbul'', New York, Metropolitan Museum of Art, 1998, p. 108</ref> Her work is only partially documented.<ref>David Simonowitz A Modern Master of Islamic Calligraphy and Her Peers Journal of Middle East Women's Studies (2010) 6 (1): 75-102.https://doi.org/10.2979.MEW.2010.6.1.75</ref> Problems associated with attribution have been exacerbated by the absence of any signature. Female calligraphers, especially, were expected to show humility and did not always sign their work.<ref>Kazan, Hilal, ''Dünden Bugüne Hanım Hattatlar'' (Female Calligraphers Past And Present), Istanbul: İstanbul Büyükşehir Belediyesi, 2010, [http://islamicartsmagazine.com/magazine/view/18th_century_quran_transcribed_by_a_woman/ excerpt published in ''Islamic Arts Magazine'']</ref> Recent scholarship, however, has uncovered previously unknown examples of her work. In addition, works that were previously attributed to her husband have now been attributed to Esmâ Ibret Hanim.<ref>Istanbul Kadun Muzesi (Women's Museum Istanbul), [http://www.istanbulkadinmuzesi.org/en/esma-ibret-hanim/?tur=Alfabetik Online:]</ref> |
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Examples of İbret's work can be found in the [[Topkapı Palace]] Museum.<ref>Tezer Taşkıran, ''Women in Turkey'', Redhouse Yaylnevi, 1976, p. 21</ref> Other examples of her work include:<ref>Kazan, H., ''Dünden Bugüne Hanım Hattatlar (Female Calligraphers Past And Present), Istanbul: İstanbul Büyükşehir Belediyesi, 2010</ref> |
Examples of İbret's work can be found in the [[Topkapı Palace]] Museum.<ref>[[Tezer Taşkıran]], ''Women in Turkey'', Redhouse Yaylnevi, 1976, p. 21</ref> Other examples of her work include:<ref>Kazan, H., ''Dünden Bugüne Hanım Hattatlar (Female Calligraphers Past And Present), Istanbul: İstanbul Büyükşehir Belediyesi, 2010</ref> |
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* ''Hilye-i Sharīf'', gift for the Vālide Sultan (queen mother), now at the Topkapi Palace Museum |
* ''Hilye-i Sharīf'', gift for the Vālide Sultan (queen mother), now at the Topkapi Palace Museum |
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* ''Qit'a'', dated 1222/1807, now at the Ekrem Hakki Ayverdi Collection |
* ''Qit'a'', dated 1222/1807, now at the Ekrem Hakki Ayverdi Collection |
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* ''Qit'a'', undated, now at the Saffet Tanman Collection |
* ''Qit'a'', undated, now at the Saffet Tanman Collection |
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== See also == |
== See also == |
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== References == |
== References == |
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{{Reflist}} |
{{Reflist}} |
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{{Authority control}} |
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{{DEFAULTSORT:Ibret, Esmâ Ibret}} |
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[[Category:1780 births]] |
[[Category:1780 births]] |
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[[Category: |
[[Category:Artists from the Ottoman Empire]] |
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[[Category:Women calligraphers]] |
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[[Category:Year of death missing]] |
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Latest revision as of 12:55, 11 June 2024
Esmâ Ibret Hanim (born 1780) was an Ottoman calligrapher and poet, noted as the most successful female calligrapher of her day.[1]
Life and work
[edit]In the 18th-century Ottoman period, calligraphy was a male-dominated profession. However, a small number of female calligraphers, such as Esmâ Ibret and Şerife Fatma, successfully trained as calligraphers and were able to make valuable contributions in their field.[2]
Esmâ Ibret Hanim was born in Istanbul in 1194 (1780).[3] Her father was Serhasekiyan-i hassa Ahmed Ağa, an official in the Royal Palace. She was an only child, and special attention was given to her education. From early childhood she showed an interest in calligraphy, writing in sülüs-nesih and icâzet and copying the work of Mahmud Celâleddin Efendi. Her father liked to trick his friends by showing her work and then watching his friends' amazed responses when they were told that his daughter was the scribe.[4]
At the age of 10, her father sent her to Sheikh Murad Derwish Lodge where she studied with the leading calligraphers of the day, including Zühdi, İbrahim Şefik and Mahmud Celaleddin.[5] By the age of 15, her talent was widely recognised amongst family and friends. When she was aged 16, she was given the title of "Ibret" which indicated that she has mastered her lessons.[6]
Her calligraphy master, Mahmud Celâleddin was initially reluctant to take on a female student. However, he was shown a book prepared by Esmâ Ibret, and deemed it to be so good and so uncharacteristically "female" that at first he did not believe it was her work. On investigation however, he was persuaded of her talent and accepted her as a pupil. Esmâ Ibret and Mahmud Celaleddin subsequently married, in spite of an age gap of some 30 years.[7] Her husband worked on revising the scripts, and developing new scripts such as "celi sülüs". However, Esmâ Ibret followed in the traditional style of Hâfiz Osman, producing elegant work in the sülüs-nesih script.[8]
She wrote a hilye that was presented to Selim III and his mother, who were so impressed that they arranged for a grant of 500 Kuruş and a daily allowance of 500 Akçes, to be paid by the Customs Office.[9]
Both she and her husband lived long and productive lives. Her date of death is uncertain, but has been estimated at 1830. She is buried by her husband in the Murad-ı Buhari Dergâhı, Vefa, Istanbul.[10]
Work
[edit]She is generally regarded as the finest female calligrapher of her era, and the first female to become a professional calligrapher.[11] Her work is only partially documented.[12] Problems associated with attribution have been exacerbated by the absence of any signature. Female calligraphers, especially, were expected to show humility and did not always sign their work.[13] Recent scholarship, however, has uncovered previously unknown examples of her work. In addition, works that were previously attributed to her husband have now been attributed to Esmâ Ibret Hanim.[14]
Examples of İbret's work can be found in the Topkapı Palace Museum.[15] Other examples of her work include:[16]
- Hilye-i Sharīf, gift for the Vālide Sultan (queen mother), now at the Topkapi Palace Museum
- Hilye-i Sharīf, dated 1209/1795, now at the Turkish and Islamic Arts Museum
- Alif juzu (Arabic alphabet), dated 1213/1798-99 at the Ekrem Hakki Ayverdi Collection
- Dalāil-i Hayrāt now at Istanbul University Library
- Qit'a, dated 1222/1807, now at the Ekrem Hakki Ayverdi Collection
- Qit'a, undated, now at the Saffet Tanman Collection
See also
[edit]References
[edit]- ^ Cikar, J. (2011). Türkischer Biographischer Index (in German). De Gruyter. p. 362. ISBN 978-3-11-096577-3. Retrieved 25 October 2018.
- ^ Emel Doğramacı Status of Women in Turkey Meteksan, 1984, p. 168
- ^ Turkish Biographical Index, Walter de Gruyter, 2011, p. 362
- ^ M. Ugur Derman, "Esmâ Ibret" [Biographical Notes], Islam Encyclopedia, Online (in Turkish):
- ^ İbnül Emin Mahmud Kemal İnal, Son Hattatlar [Last Calligraphers], Istanbul, 1970, p. 87
- ^ Istanbul Kadun Muzesi Online:
- ^ M. Uğur Derman, Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection, Istanbul, New York, Metropolitan Museum of Art, 1998, p. 108
- ^ Şevket Rado, Türk Hattatları [Turkish Calligraphers], Istanbul, 1980, p.168: M. Ugur Derman, "The Art of Calligraphy in the Ottoman Regime", in: Ekmeleddin Ihsanoglu (ed.), History of Ottoman State and Civilisation, II, Istanbul 2003, pp 645-652
- ^ Davis, F., Gurun, S. and Esch, M.E., The Ottoman Lady: A Social History from 1718 to 1918, Bruce Van Leer Greenwood Publishing Group, 1986 p, 225; Selçuk Mülayim, İlhan Akşit, Turkish Art and Architecture in Anatolia & Mimar Sinan Akşit, 2005, p. 264
- ^ Ünal Kurtçu, Boğaziçi Tiryakiliği, Elips Kitap, Bosporus (Turkey), 2007, p. 123
- ^ Kemal Çiçek, Ercüment Kuran, Nejat Göyünç, İlber Ortaylı, The Great Ottoman-Turkish Civilisation: Culture and Arts, Yeni Türkiye, 2000; M. Uğur Derman, Letters in Gold: Ottoman Calligraphy from the Sakıp Sabancı Collection, Istanbul, New York, Metropolitan Museum of Art, 1998, p. 108
- ^ David Simonowitz A Modern Master of Islamic Calligraphy and Her Peers Journal of Middle East Women's Studies (2010) 6 (1): 75-102.https://doi.org/10.2979.MEW.2010.6.1.75
- ^ Kazan, Hilal, Dünden Bugüne Hanım Hattatlar (Female Calligraphers Past And Present), Istanbul: İstanbul Büyükşehir Belediyesi, 2010, excerpt published in Islamic Arts Magazine
- ^ Istanbul Kadun Muzesi (Women's Museum Istanbul), Online:
- ^ Tezer Taşkıran, Women in Turkey, Redhouse Yaylnevi, 1976, p. 21
- ^ Kazan, H., Dünden Bugüne Hanım Hattatlar (Female Calligraphers Past And Present), Istanbul: İstanbul Büyükşehir Belediyesi, 2010
