Research Centre for Islamic History, History, Art and Culture
9 th International Calligraphy Competition in the name of
Ekmeleddin Ihsanoglu
Istanbul 1433 H/ 2012 AD
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ORGANISATION OF ISLAMIC COOPERATION
RESEARCH CENTRE FOR ISLAMIC HISTORY, ART AND CULTURE
9th INTERNATIONAL CALLIGRAPHY COMPETITION in the name of
E K M E L E D D İ N İ H S A N OĞ LU
Istanbul, 1433/2012
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THE INTERNATIONAL CALLIGRAPHY COMPETITION The idea of the International Calligraphy Competition was first mentioned in the “Istanbul Declaration on Islamic Arts” issued by the International Symposium on the “Common Principles, Forms and Themes of Islamic Arts” which was organised by the Research Centre for Islamic History, Art and Culture (IRCICA) in April 1983. The masters and lovers of calligraphy attending the symposium considered various aspects of this art and emphasized the role played by calligraphy in unifying different branches of Islamic arts. They also recognized the necessity and usefulness of organising a calligraphy competition.
THE PURPOSE OF THE COMPETITION
The purpose of this international competition is to revive and encourage the development of “Classical Islamic Calligraphy”. Thus, it aims to encourage artists of Islamic calligraphy to produce works within the framework of the traditional spirit and rules and to protect it from trends which emerged outside of the principles of “Classical Islamic Calligraphy”. This attempt will provide a common ground to all Muslim calligraphers to exchange their knowledge and approaches, and enable the development of a mutually appreciated artistic taste by Muslims all over the world. In the spirit to encourage young artists to emulate the examples of the great masters of calligraphy and, at the same time, to commemorate their achievements, the Centre organised the first international competition (1986) in the name of Hamid al-Amidi (1891-1982), the second (1989) in the name of Yaqut al-Mustasimi (?-698/1298), the third (1992) in the name of Ibn al-Bawwab (?-413/1022) on the occasion of the millenium of his death, the fourth (1997) in the name of Sheikh Hamdullah (833-926/1429-1520), the fifth (2000) in the name of Sayyid Ibrahim (1897-1994), the sixth (2003) in the name of Mir Imad alHasani (961-1024/1554-1615) on the 400 th year Hij’ra of his death, the seventh (2006) in the name of the Iraqi calligrapher Hashim Muhammad al-Baghdadi (1335-1393/1917-1973) and the eighth in the name of the Syrian calligrapher Muhammed Badawi al-Dirani (13121387/1894-1967). We are honoured to dedicate the ninth calligraphy competition to an eminent scholar who made outstanding contributions towards reviving and promoting the art of calligraphy: Prof. Ekmeleddin İhsanoğlu.
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EKMELEDDİN İHSANOĞLU Founder Director General (1980 – Dec. 2004) of the Research Centre for Islamic History, Art and Culture (IRCICA) in Istanbul, and current Secretary General (Jan. 2005 - ) of the Organisation of Islamic Cooperation (OIC). In acknowledgment of his varied activities and sustained patronage of the art of calligraphy, since 1980, he is credited with the revival of this art and the stimulation of artistic and official interest in it, not only at the level of the Islamic world but also at global level. Organized the first international calligraphy competition in 1986, a competition which is currently witnessing preparations for its ninth edition, in appreciation of his merits and gracious support. Organized multiple exhibitions of major contemporary calligraphers and had them staged in different parts of the world. He also mentored the new generation of calligraphers from different countries, organized training courses for them, revived the tradition of Ijaza “Certification” awarding and staged the first official international Ijaza awarding ceremony for the American calligrapher Mohamed Zakaria, in 1988. Oversaw the preparation of a reference book on the art of calligraphy and had it published in English, Turkish, Arabic, Japanese and Malay. He also published masterpieces of calligraphy, as well as calligraphy exercise books ( mashqs) crafted by leading calligraphers. Supervised the production of two documentary films on the most prominent calligrapher in the 20th century, namely Hamid al-Amadi (Aytaç), and two among the leading artists in gilding and ornamentation, namely Prof. Tahsin Demironat and Mrs. Rikkat Kunt. Served as a faculty member in a number of science faculties, and later became first professor and founder chairman of the Department of History of Science in the Istanbul University. He is also the founder chairman of both the Turkish Society of History of Science and the Foundation for Research on Islamic History, Art and Culture ( İSAR). In addition, he served as chairman of the International Union of the History and Philosophy of Science (IUHPS) from 2001 to 2005, and is currently a member of a wide range of international associations, scientific councils and advisory boards of academic institutions, centres, institutes and editorial boards of many magazines in both Islamic and Western countries. Among his publications are a number of books, essays and researches in English, Turkish and Arabic on science and the history of sciences, Islamic culture, Turkish culture, relations between Islam and the West, and Turkish-Arab relations. Many of these works have been translated into other oriental and western languages. He has been the recipient of many medals and decorations from Kings and Heads of State and was awarded honorary doctorates from a number of universities in different parts of the world. His interest in the art of calligraphy started in his early childhood, at his parental home, his father being endowed with a good handwriting and a pronounced love for calligraphy which he practiced indeed; so much so that he was fond of copying rare books, which he wanted to have among his literary possessions. Thus from his early childhood Ekmeleddin İhsanoğlu was surrounded by many ornate calligraphic paintings hanging on the walls of his home, one of which was the splendid work of the late Hamid al-Amidi, a fragment from a poem by the Ottoman Sultan Ahmed I drawn in imitation of the writing of Mehmed Esad el-Yesarî. Thus he had gained an early interest in calligraphy and sound acquaintance with its state in the Muslim world.
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01. ORGANISING COMMITTEE
The Organising Committee is established under the Chairmanship of the Director General of the Research Centre for Islamic History, Art and Culture (IRCICA). 02. JURY OF THE COMPETITION
The Jury of the Competition consists of the following experts who are renowned in the field of Classical Islamic Calligraphy: Members of the Jury
- Dr. Halit Eren, IRCICA Director General, Chairman of the Organising Committee - Mr. Mus’ad Khudair al-Borsaidi, Master of Calligraphy, Egypt - Mr. Ubayda Muhammed Salih al-Banki, Master of Calligraphy, Syria - Mr. Hamidi Bel'id, Master of Calligraphy, Morocco - Dr. Abdul-Rida Bahiye, Master of Calligraphy, Iraq - Mr. Jalil Resuli, Master of Calligraphy, Iran - Mr. Fuad Başar, Master of Calligraphy, Turkey - Mr. Davud Bektaş, Master of Calligraphy, Turkey Honorary Members
- Mr. Ahmed Ziya İ brahim, Master of Calligraphy, Saudi Arabia - Mr. Hasan Çelebi, Master of Calligraphy, Turkey - Prof. M. Uğur Derman, Expert and Historian of Calligraphy, Turkey - Dr. Mohammed Cherifi, Master of Calligraphy, Algeria 03. COMPETITION SECRETARIAT 03.01
All activities related to the competition will be coordinated by the “The International Competition Secretariat” established at the Research Centre for Islamic History, Art and Culture -IRCICA. Competition Coordinator: Mr. Said Kasımoğlu 03.02
All correspondence concerning the Competition should be addressed to: The International Calligraphy Competition Secretariat Research Centre for Islamic History, Art and Culture (IRCICA) Y ıldız Saray ı, Seyir Köşkü, Barbaros Bulvarı, 34349 Beşiktaş-Istanbul, Turkey Phone: +90212 259 1742, Fax: +90212 258 4365, e-mail:
[email protected] 03.03
The Competition Secretariat cannot be held responsible for the procedure of work or decisions of the Jury before or after the results of the competition are announced.
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04. SUBJECT AND REGULATIONS OF THE COMPETITION 04.01 Styles
The Competition covers the following styles: a. Jaly Thuluth
To be written with a pen of at least 5 mm. nib as a circular, oval or similarly shaped single– piece composition. The paper can be used either horizontally or vertically. b. Thuluth
To be written with a pen of maximum 2-3 mm. nib on lines parallel to each other. The paper can be used either horizontally or vertically. c. Naskh
To be written with a pen of 1 mm. nib maximum on two pages facing each other on the same paper. d. Jaly Ta’liq
To be written following Yesarizade’s school with a pen of not less than 5 mm.-wide nib. e. Ta’liq (Nasta’liq)
To be written following Mir Imad’s school on oblique or horizontal lines on the same paper with a pen of 2-3 mm. nib. f. Jaly Diwani
To be written with a pen of 3-4 mm. nib. The participants should take care not to repeat the following widespread mistakes in this style. The works that contain these mistakes will be disqualified. 1- The letter “dal” at the end of a word ( ), should be written as ( ) rather than as ( ). 2- The vowel marks (………………….….) can be used only where necessary; they should not be used repeatedly for the sake of decoration. g. Diwani
To be written in horizontal lines parallel to each other, with a pen of 2 mm. nib maximum. h. Kufi
To be written with a reed pen of maximum 4-5 mm. nib in “Kufic Mushaf” style. i. Riq’a
To be written with a pen of 1-3 mm. nib. j. Maghribi
To be written in “Mabsut” style with a pen of of 1 mm. nib maximum.
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04.02 Rules
The works to be submitted to the competition should be written in the traditional way, with a reed pen, in conformity with the classical rules. Classical black ink must be used in order to reflect the movement of the reed pen. 04.03 Basis of Evaluation
The works will be evaluated on the basis of the rules of the classical art of calligraphy. Entries that contain errors in the composition and order of the text which change the meaning will not be evaluated. Likewise, entries which do not follow the regulations mentioned in this booklet and/or contain orthographic errors will be disqualified, whatever their artistic value may be. 04.04 Competition Texts
In order to provide equal chances to all participants, the following texts are given for each style. a) Jaly Thuluth (Surat al-Fath, 28)
ِ ِّ ُ ِ ِّ א َ َ هُ ِ َ َ وَ َ ْ ُ ِ َ َ رْ َي أ אِ َ ُ ﴿ ِّ َ אْ ِ دِ وَ ى َ ُ ْ ِ ُ َ ُ رَ ِ َ ِ ِ ﴾ אً b) Thuluth(Surat al-Baqara, 285-286)
ِ ِ ُ ُ وَ ِ ِ ِ َْ إ ِلَ ُ أ َِ لُ ُ א َ آَ ﴿ ِ َ ِ ٰ َ وَ ِ ِ َ آَ ُ نَ ُ ِ ْ ُ ْ وאَ ِ ّ رَ ِ ٍ َ َ أ َ ْ َ ِقُ ِ َ אْ ُ َ وَ ِ ِ َ َِْ إ وَ َ رَ َ אَ ِ ُ ر ِّ ِ ُ رُ وَ ّ َ ُ َ َ ْ ُ َ ْ َ َوأَ َ ْ ُ ِ אَ ْ َ رَ ْ א َ َ ً ْ َ ُ א ِّ َ ُ َ ُ َ َ َ َ َ َ َ ْ َ َ ْ َ َ وَ ْ َ َ ْ وُ إِ ِ ْ َ َوَ َ رَ َ َ َ َ َ ًא ِْ إ َ ْ َ َ ْ َ ْ َو أْ َ أ َ ِ إِن َ א ْ ْ ِ َ ُ َ ْ َ َ ُ َ ْ ِ ْ وَ َ א ِ َ ُ َوَ َ رَ א ْ ّ َ َ َ َ َ ُ ْ وَ ِ َ َ َ َ َ ِ ْ َ ِ َ אِ ْ َ אرْ وَ َ َ ﴾ ِ َ ِ َ אْ مِ ْ אَ ْ َ َ َ ْ ُ َ ََ ْ َ َ َأ ۞
c) Naskh (Imam al-Busiri’s Muzariyya poem) 1
ِ َ وَ ـ ـ َ ِ َْوאَ وאـُ ـ ـ ِ ذُ ـ ـ ـ َ ـِ ـ ـ ْ א ِ ـ ـ ِ ـ وא ـ ـ َ ِ ـْ ـ َ ِ ْ ـ َ وَ ُ َ ـ َ ْ ـ ـ َ ِ ِّ ـ ـ אـِّ وא ـ ُ َ ـ ـ ـَ ْ ـ ـ ـَ وَ وאْ آوَ ـُ ـ ـ ـَوَ وא ُ َ ـ ـ ـَ وَ 1
ٍ ـ ـ ـ ـ ـَ ُ ْ ِ رِ ـ ـ ـ ـ ْ אُ َ َ ِ ّ َ بِّ رَ ِ ـ ـ ـ ـ ـ ـ ـِ ـَ ــ ـِو ـَ ديِ א ـ ـَ َ َ بِّ رَ ِ ّ َ وَ وאُ ـ ـ ـ ـَ ـَ א ـ ـْ وَ ِ א ِ ُ ـ ـ ـ َ َ وאُ ـ ـ ـَ ـ ـَ وَ
Dr. Yusri Rashid al-Hasani, al-Durar al-Nakiya fi Awrad al-Tariqa al-Sadiqiya , Wabil Sayyib, Cairo, 2009, p. 167.
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وא ـ َ ْ وَ ِ ُ َ ـ ـ ـ ـ ـ َ ْ َ ِ ـ ـ ـ ـ ِـ ـ א ُ ـَ ـ ـ ـ ـ ـ א ـُ ـ ـ ـ ِ אَ َ ـ ـ ـ َ ـُ ـ ّـ ـ ِ َ ُ ُ ْ ـ ـ ـ َ ـ ـ ـ رَ نَ ـْ ـ א ُ ِ ـ ـ ـ َ ْ َ نِ אـَ ـ ـ ِ ـ ـ ْ אّ جُ رَ َ أـ ــ ـ َ ِ ْ ِ ـْ ـ ـ ـ ِ رُ َ ـ א ـ َ وَ ضِ رْ َت אُ ـ ـ ََوَ ـ ـ ْ َ َ ـ ـ א ُ ـ ِ َ ُ ُ ـ ـَ אَ وَ ءِ ـ ـ א ـَ ِ ـ ـ ـ ـْ ـَ ِ ـ ـ ـ ـ ْ ِ ـ ـَ ـ َ ُْ א َ ـ ـ ـ َ فٍ ْ ـ ـ ـ َ ـ ـ ـ ُ وَ ُ َ َ ْ ـ ـ ـ ُ وَ ـ ـ ـ ـ َ وَ כُ ـ ـ ـ ـ ْ َوאَ ـ ـ ـ א ـ ِ ُ ِ ـ ـ ـ ـ ـَ ُ َ ـ ـ א ُ َـَ ـ وאَ شُ ـ َرْ َوאَ فُ ـ ـ وאَ ْ ـ وאَ ُ ـ رُ َ ـ א ـ ـ َ وَ نُ ُ ْ ـ א ـ ـ َ ُ ـ ـ ـ א َ َ ِ ـ ِـ ـ ىـَ ـ ـ َ ُ ِ ـُ ْ ـ ُ وَ א ُ ـَ ْ ـ ُ ِ ئـِ א وא َ ـ َ َ وא ُ ـ ـ ـ ـ َ אَ ْ وَ כُ ـ ـ ـ ـ ْ َوאَ نَ ـ ـ ـ ـ א ِ ِ ـ ـ ِـ ـ رُ ـ ـ ـ ـ ُ َ ـ ـ ـ َ وَ َ ُْ نْ َ أ ـ ـ ـ َ إِ نُ ـ َ ـ ـ אـَ ـ روאُ َ ـ ـ َ أوْ ـَ ـ ِ رَ َوאَ אتِ َ ـ َ ـ אـُ ـ ْ َأ ِ وא وא َ א ُ شِ ْ َ ْ وَ شِ ُ َ َ و ْ אَ ْ وَ ُ ِ ـ ـ َ ْ َ ـ ـ َ ً وُ ـ ـ ْ َ َ ْ ـ ـ َ ًـ ـ وאَ دَ ةً َ رُ َ ـ ـ ـ ـ َ وَ ـ ــ ـ ِ ُْ َ ِّ ـ ـ ـ ـ َ ْ ِ ُ ـ ــ ـ ِ ُ ُ ـ ـ ـ ـ ـ َ ـ ـ ْ ُ ٌ ـ ـ ـ ـ ـأَ ـ ـ ـ ـ ـ َ َ َوَ َ ْ ُ َ ـَ ـ ـ ـ ِ ِ ـَ أ رُ َ א ـ َ ـُ ـ َ ـْ ـَ ـ َ ـْ ـِ ْ ـ ِ ـْ ـ َ رُ ِ ـ ـ ـ ـ ـ ـ ـ ـَ ُ نْ َ أ ـ ـَ ــَ ْ َ َأ َ ـ ْـ ـَ أ ِّ ـ َ ْ ُ ُ ِ ـ ـ ـ ـ َ ْ ُ ـ ـ َ وَ ـ َ وَ بِّ رَ ْ ِ ـ ـ ـ ُ ْ ـ ـ א َ ُ ِ ْ َ سِ ـ وאـُ ـ ـ ُ َ نْ إِوَ אـ ـ ـ َ نْ إِ ـَ ـ ـ ـ ـ َأْ ِ َ ِ ِ ْ ـ وא ـ ـ َ ـ ـ ـ ـ ـ ُ אْ وَ ُ َ ـ َ َ َ َْ أًـ ـ ـ ـُ ـ ـ ـ ـ ـ ِ ـ ـ َ ُ وَ ْ َ ْ ُ ـ ـ ــ َ ْ ِ ي ـ ِّ ـ ـ ـ ـ ـ َ ـ ـ ـ ـ ـ رُ َ ـ ـ ـ ـ َ وَ ـ ـ ـ ـ ِ ُْ כَ ـَ ـ ـ ـ ـ ْ َ ـ ـ ـ ـ ـ ِ َ ُ ِ ـ ـ ـ َ ْ ُ ـُ ـ ـ ْ אَ ْ وَ ًـ ـ ـ ِ َ ـ ـ ـأ َ ـْ ـ ـ َ وَ ُ ـ ـَ َ אْ َ ـ ـَ ِ ـ ـْ َ ِ ـ ـِ ْ ـ ـَ هِ ـ ـَ ِ
א ـ ـُ ـ ـ ـ ـَ ـ א ُ َ ْ وَ نَ ْ אَ ْ وَ ضَ א ْ َ א ُ َوَ ـ ـَ ـ ـَ َ ـ ـ ـ ـْ َوأَ ـ ـ ـَ ـ أَ ْ وَ ةٍَـ ـ ـ ـَ َ زْ َأ ْ ِ ْ א ِ ــ ـ ـ ـ ـ ـ ـَـ אِ زَ ِ ـ ـ ـ ـ ـ ـَ ـ ـ ـ ـُ ْ َ ِ َ ِ ٍ ـ ـ ـ ـ ـَ ـ ْ َ ِ ْ وא ـ ـ َ א َ َ َ ُ ى َ ـ وא َ ِ ِ ـ َ َ لِ ـ ـ ـ ـ ـ א ـ ـ ِ ـ ـ ـ ـ ـ ـ ـ َ َ نَ زْ وَ و َ قٍ رَ وَ ْ ـِ رُ ـ ـ ـ ـ ـَ ـ א ـ ـْ تِ َ َ َ َ وَ ٍ َ َ ْ َ כُ ـ ـ ـ ـْ َوאَ ُ ْ אْ وَ ُ ْ אَ ْ وَ אَ َ بِ ـ ـ ـ א ُ א ْ َ ْ َ ْ وَ ر وאَ ُ ُ ِ َ وَ ُ ـ ـ ـ ـ ـ ـ ِ אُ ُ א ْ ِ ِ ِ طَ ـ ـَ َ أ َ وَ ـ ـ ـ ـ ـ ـَ ـِ َ ْ َ َ ِ א َ ئـ ـ ـ ـ ـِ َ ْ َ َ وَ ْ َ ُ ـ ـ ـ ـ ـَ ي אِ ِ א هِ رِ א َ ْ ِ َ وَ ِ َـ ـ ـ ـ ـَ َ نِ א ْ َ א ِ نَ َ َ َ وَ ي َ ِ نَ ـ ـ ـ ِ ـ ـُ ْ َ ٍ ـ ـ ـ ْ َ ِ ـ ـَ ْ َ ِّ ـ ـُ ِ ٍ ـ ـ ـ َ َ ْ َ َ ـ ـ ـ ِ رَ َوאَ אتِ ـ ءَ ْ ِ َ َ ـ א َ ـ ـ ـ ـ ـ ـ ـ ـ ـَ وْ َوأَ دًאـ ـُ ْ ـَ م ُאَ َ ـ ْ َ أ ـ ـَ ـ ـ ـ َ َ رِ ُ אِ ْ َ ِقُ َ ْ َ ْ َ ْ َ א ـ ـ ـ ـ َ َ ُ ـ ـ ـ ـ ـ ـِ َ َ ءً ـ َ ـ אِ ْ وَ ً ـ ـ ـَ ـ ـَ َ دٍ َ ـ ـ ـَ ْ ِ ـ ـَ ْ َ َ فِ ـ ـ ـَ ـ ـْ َ أ َ وَ ـ ـَ و ـ ـَ ي ِ ـِّ ـ ـ ـَ َ ْ َوَ ـ ـ َ َ ِ ُ دٍ َ ـ ـَ ْ ِ ـ ـ ـَ ْ َ َ َ مَِـ ـ ـ ـ ـ א ـ ـ َ َ ِ ِ َ ـ ـِّ ـ ـَِ وب ـ ـ ـ ـ ـ َ ْ ٌ ُ َ ذَ ُ وَ ـ ـَ ـِ ـِ ـ ـ ـ ـَ وَ ـ ـَ رِ َ ِ ْ ـ ـِ א ـْ وَ بِّ رَ َ ـ ـ ـ ـ ـ ـ ـ َ ِ َ ـ ِ وَ ـ ـ ـ ـ ـ ـَ ـ ِ ـْ َوأَ ـ ـ ـ ـَ אِ ِ وَ وَ ـ ـ ـ ـ ـ ـ ـ ـَ ـَ אدَ َ ـ ـ ـِ ً ـ ـ ـُ ذُ ُ ـ ـ ْ ََأ ْ َ وَ ِ َ َ ـ ـ ـ ـْ َ أِ ـ ـ ـ ـ ِ َْ أ ـ ـ ـَ ِ ّ ُ ْ َ אَ ْ وَ ـ ـَ ـُ َ ْ ـَ ِ ـ ـْ אرَ א ِ بِّ رَ َ כَ ُ رْ َأ 9
ُ ِ ـ ـ ـ َ ْ َ ـ ْ َ כَ دَ ـ ـ ـ ُ ن ِـ ـ ـ َ َ ْـ ـ ـ َ ٌ ـ ـ رُ ـِ ـ ـ ـ ـ ــَ ــْ ـُ ـ ـ َ بَ ـْ ـَ אْ جِ ِّ ـَ وَ َ َْ أـ ُ ِ ـ ِ َ ًـ ـ ـ ـ ـ َ ْ َ אلُ َ ـ ـ ـ ْ َאْ ِ ـ ِـ ـ ً ـ ـ ـ ْ ُ رُ ـ ـ ِ ْ َ ـ ـ ـ ِ ْ ـ ـ ـ َ َ َ ً ـ ـ ـ َ َ َ ـ ـ ـ אِ ـ ـ ُ ـ א ـ ـ א ـ َ َ َ َ ْ َ ْ ـ َ ـ َ وَ رِ ُ ْ َ َ
ةً َ ـ ـ ـ ـِ ـْ ــَ وَ ًא ـ ـْ َ أ ـ ـ ـ ـ َ َ ْ ـ ـِ ْ َب أِّ رَ َ ٌ ـ ـ ــَ ئـِ ـَ قُ َ ْ َאْ َ َ ً ــ ـُ دُ ِ אْ وَ ٍ ـ ـ ـ ـ ِ ـَ ز ـ ـ ـَ ِّ ـ ـُ ِ ـ ـ ـ َِ ً ـ ـ ـ ِ َ ْ ـُ وَ ْ َ وَ مِ ََאْ ُ ْ َ َ َ َ ْ ُ ْ ِ َ ْ ُ אْ ْ ـ ـ ُ َ ْ אُ َ َ ةُ א َ َ َ َ رِ ـ
d) Jaly Ta’liq 2
ر ـ ـ ـ ـ ـא و ن א و ر رر ده א א دא ض א دنر א و ً ى
e) Ta’liq (Naskhta’liq)
3
ن دאرمـ ـ ـ א ـ ـ آ ـ هـ ـ ـ ـ رمـ ـ ـ ـ ره ـ ـ ـ ـ ـ رم אز א אرم אرم אز אو وز א م م ز א ـ م ــ ـ ـ ــ م م د زش אز م م م در م م دאم دא در
2 3
M. Akif Ersoy, Safahat , Book 5, Âsâr- ı İlmiye Kütübhanesi Neşriyatı, İstanbul 1928, p. 11. Mawlana, Jalal al-Din Rumi, Külliyat Ş emsi Tebrizi, Rübaiyyat , Published by Nashri Tulu’, p. 1424.
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f) Jaly Diwani (Surat al-‘Isra, 80-82 )
ِ ْ َ ُ ـ ـ ِ ـ ِّ ـ א ْ َوأَ قٍ َ َ ْ ُ ِ ْ ِ دْ َب أِّ رَ ُ وَ ﴿ َ ْ ُ ِ ْ ِ َ ْ وَ قٍ ـْ ِ جَ ِ אَ ْ ن إِ ـُ ِ אَ ْ َ َ زَ وَ ـَ ِ ِلُ ّ ـَُوَ * ـ ِ َ ً َ ْ ُ ً ُ زَ نَ ـَ ـَ َ אْ ء َ ْ ُ وَ ًא ِ ِ א ﴾رאً ُ ِ َ َوَ ٌ َ ِ َ ُ َ نِ آ ْ ُ ْ ِ َ َ ِ ِ ٌ َ َ َإ َ ْ رَ وَ ء ْ אُ ْ ۞
g) Diwani 4
ٍ ٍ ِ ِّ َ آلِ َ َ وَ ِ ِّ َ َ َ ِ ِ َ ْ ِ ِ َ ِ َ ِ ْ ُ ةً َ َ ّ َ א َ ُ َ َ ُ َ ُ ّ ِ َ ِ ِ َ ِ ِ ِ ِ ُ ِّ َ وُ تِ َ א ِ و ت وא َ אلِ א َ ْ َ َ َ َ َ َ َ ْ ِ ت َ אَ َ أْ ِ َ رَ א أ َ ِ َ ْ כَ ْ َ تِ َ א َُ تِ َ ْ ِ َ ُ ِّ و َ ُ َ و ِّ ِ ِ א ِ َ ِ א َ َ ِ אتِ َ א ْ َ ِ َ و َ א َ َ أرْ َ َ ْ َ ةِ א ُא َ ُ ْ َ َ ْ َ ِ تِ َ َ ُ ِ א َ ْ ِوَ َ َ ْ ِ َ ْ ِوَ . א ْ َ ْ ُ ِ אَ ْ ۞
۞
۞
۞
۞
۞
h) Kufi: (Surah al-Qadr)
ِ ِ ْ ِ ﴿ رِ ـْ אَ ْ ُ ـ َ َْ ـ َ כَ رאَ دْ َ أـ َ وَ * رِ ـْ אَ ْ ِ ـ َ َْ ـ ِ هُ ـَ ْ َ َ أـ ِإ * ِ ـ א ِ ـ א ٰ א * ٍ ٍ ـْ َ أـِّ ُ ـ ِّ ِـ ِ ّرَ نِ ذْ ِ َ ِ وح َ َْ ُ َ ئِ َ אَ ْ لُ َ َ * ُ ْ אَ ْ ُ א وَ ْ َ ِ َْ أ ْ ِّ ٌ ْ َ رِ ﴾ َ ْ َ َ َ ِ مٌ ِ ْ אَ ْ ِ َ َ *
i) Riq’a and j) Maghribi
ِ َ َ َِ َ ٌ ِ ْ ُ ْ َ ْ ِ ِ ْ َ قِ ْ ِّ ِ ْ ِذَ ٌ ِ ْ ُ ِ ٌ ْ َ ٌ َ ٌ ْ َ ُِ إ ِْ َ ِْ إ ِ َ אْ ءِ ٌ ْ َ وَ نٌ َ ْ َ َ ْ إ َ ْ ِ ِ َ אْ َ א ْ َ ْ وَ ٍ ْذَ ُ ِّ َ ْ ِ א ُ ْ َ 4
ِ ْ ُِ ْ ِ َ אدٌ زَ ُ َ ْ َ ِ ِ ٰ إ َ ْ ْ ُ ْ ِ אَ ْ ِ ْ َ ٌ ِ َ َ ْ א ِ ُ ُ ْذَ ٌ ْ ذَ َ ْ ِوَ نٌ َ ْ ِ َ ْ َ ْ َ ْ َ وَ نٌ ُ ْ ِ ْ ٌ ُذُ بِّ رَ َ لَ َ َ ْ ِ ِ ْ َ ُ َ ٍ ْ رَ
Abd al-Rahman ibn Abd al-Salam Saffuri, Nuzhat al-Madjalis wa Muntakhab al-Nafais , p. 323.
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ٌ ِ َ ِ َ ْ َء أُ ُ ْ ِ َ ِ َ َ אدُ زَ ِ אَ ْ ِ ْ َ ْ َ ْ ً ِ َ ً ْ َ ِ ن إِ َ َْ أ ِ َ אْ ْ ِّ َ ِ ديِ ُ ُْر אُ َ َ َ ْ ُ َ ْ ُ ْ ِ אَ ْ ِ َ َْ أ َ َْ أ ِ ّ رَ َ َْأ ْ َ َ ْ ِ ِ ِ ِ ْ َأ ِ َ ِ َ ْ ِ א َ ْ َ ِدُ ِي ِ َ ْ ئِ َ ْ َ ديِ َ ُ אْ وَ َ َْذ أْ إِ َ رَ ِ َ אْ َ ِ َ ُ ْ א ْ َ ْ َِإ ْ ُ ِّ ِ َ َ َْأ
(5)
ْ َ َْ ِ ِ ٰ إ َ ِ َ َ ْ َ َ אَ ْ ُ ْ َ ِ ِ َ َ ِّ َ ِ אْ وَ ءٍ دאَ ِ ّ ُ ْ ِ ِ ِ َ َ َ ِّ َ ِ بِّ رَ َ ديِ ُ ُْرِي א َ ِ ْ ُ رْ ُ ُאْ تِ ِ َ َْ أ ِ َ َ َْأ ُ ِ ِ َ ِ ْ َ بٌ وَ َ َْ أ ٍ ْ َ َ ْ َ ِ ْ َ بِّ رَ فْ َ َ ِ ً ْ ُ َ َ ْ َ َ ِّ َ א ً َِ َ ِ َ َْ أ حْ ُ َ َْ أ َ ْ َ َ َْ أ َ ُ َ َْأ
05. AWARDS AND COPYRIGHT 05.01
Awards totaling US$ 124,500.- are allocated for the Ekmeleddin İhsanoğlu Calligraphy Competition, to be distributed as follows: Style
Ist Award
2nd Award
3rd Award
Total
a. Jaly Thuluth
7,500
5,000
2,500
15,000
b. Thuluth
7,500
5,000
2,500
15,000
c. Naskh
7,500
5,000
2,500
15,000
d. Jaly Ta’liq
5,000
3,000
2,000
10,000
e. Ta’liq
5,000
3,000
2,000
10,000
f. Jaly Divani
5,000
3,000
2,000
10,000
g. Divani
3,000
2,000
1,000
6,000
h. Kufi
2,000
1,500
1,000
4,500
i. Riq’a
2,000
1,500
1,000
4,500
j. Maghribi
2,000
1,500
1,000
4,500
Total
46,500
30,500
17,500
94,500
To encourage the participants, the three best calligraphies to follow after the first three award-winning works in all fields will receive incentive prizes of US$ 1,000 each (10x3x1,000= US$ 30,000). Thus, the total number of awards and incentive prizes will be 60.
5
al-Qulub al-Daria , Define Yay ınları, İstanbul 2010, p. 22.
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05.02
The Jury may judge that none of the works submitted in one or more of the styles is worthy of the first prize or for the incentive prizes. The decision of the Jury in such a case is final as in all other cases and no objection can be made to this judgment. 05.03
All works submitted to the competition will become properties of IRCICA, regardless of whether they win a prize or not. These works will be exhibited first at the headquarters of IRCICA in Istanbul and then in Islamic countries. They may be published or reproduced by the Centre. 05.04
Information about the date and procedures of the presentation of awards will be released by the Research Centre for Islamic History, Art and Culture (IRCICA) at a later date. The Centre will also consider organising an award presentation ceremony to which the winners of the first prizes will be invited and which will be accompanied by an exhibition of their works together with a symposium on the art of calligraphy. 05.05
Certificates of appreciation will be presented to award-winning participants.
06. CONDITIONS AND PROCEDURES OF PARTICIPATION 06.01
Subject to the rules and regulations set out in this booklet, this competition is open to all individuals capable of producing a work of classical Islamic calligraphy. 06.02
Participants may submit at most one work in each of two separate categories of styles among the ten categories. Works submitted in more than two style categories or more than one in one style category will be strictly disregarded. 06.03
Calligraphers who won or shared the first prize in the past competitions can participate in the present competition. 06.04
The enclosed form should be filled and sent to the Competition Secretariat by the end of October 2012 at the latest to be able to participate in the competition. 06.05 Sending the works: The texts should not be illuminated; they should not be bent, folded,
pressed, framed or pasted on paperboard. The participant may deliver his/her work(s) in person or by registered mail. Entries should reach the Competition Secretariat by the end of February 2013.
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06.06
The participants are advised to send all correspondence by registered mail to ensure timeliness. The Competition Secretariat will not answer letters of participants unless necessary.
07. FORMAT CONDITIONS 07.01
For consideration by the jury, all entries shall observe the following rules and conditions: a. Identity : The text shall not carry any name, mark or impression which may indicate the identity of the participant. b. Colour: The text should be written with black ink preferably on glossy paper of off white or light color usually used in calligraphy. c. Dimensions: Works should be written on 40x60 cm. paper. Entries that do not conform to these dimensions shall be disqualified. d. Packing: Care should be taken to use proper packaging to make sure that the entries reach the Secretariat in flat form, without being bent or folded. 07.02 Liability: The institution organizing the competition or the concerned department is not
liable, in any respect, for the delays, damages or losses which may occur in the post.
08. COMPETITION CALENDA R
Ekmeleddin İhsanoğlu Calligraphy Competition will be organized according to the following calendar:
08.01 Announcement of the Competition
1 March
2012
08.02 Deadline for registration
31 October
2012
08.03 Deadline for submitting the entries
28 February 2013
08.04 Jury meeting
April 2013
08.05 Announcement of the Competition results
May 2013
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9th INTERNATIONAL CALLIGRAPHY COMPETITION IN THE NAME OF EKMELEDDİN İHSANOĞLU
Participation Form
Name, Surname:………………………………………..……………………………….. Place & year of birth: …………….………………………..…………………………..
FOTOĞRAF
Name of your calligraphy teacher (*):……………………………………………. Exhibition you organized or participated in (*): …............................……………………………………………………………………... …............................……………………………………………………………………… Education: …………..……………………………………………………………………. Profession: ………………………………………………………………………………... Nationality: ………………………………………………………………………………..
Signature used on your work
Branches of styles you wish to participate in
a- Jaly Thuluth a- Thuluth b- Naskh c- Jaly Ta’liq d- Ta’liq e- Jaly Diwani f- Diwani g- Kufi h- Riq’a i- Maghribi Permanent Adress : …………………………………………………………………………………………………… ………………………………………………………………………………………………………………………………… Telephone, Fax & e-mail (**) : ………………………………………………..…………………………………….. ………………………………………………………………………………………………………………………………… (*)
Please answer if revlevant. This form can be returned by mail, fax or e-mail.
(**)
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On behalf of Research Centre for Islamic History, Art and Culture (IRCICA) The International Calligraphy Competition Secretariat wishes success to all participants and thanks them for their valuable contributions.
Istanbul, 2012
This booklet is available in English, Arabic and Turkish. A copy may be requested from the Competition Secretariat by indicating the language preferred. Y ıldız Saray ı, Seyir Köşkü, Barbaros Bulvarı Beşiktaş 34349 İstanbul, Türkiye Phone: +90 212 259 1742 Fax: +90 212 258 4365 ircica.org
[email protected]
Page Set up : Said Kasımoğlu, Printed at : ……………. - Istanbul
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