By Ülkü Özel Akagündüz, *The courtyard of the Nakkaş: where words become art* - Today's Zaman - Istanbul, TurkeyWednesday, January 6, 2010
People hold stone in high esteem; it’s a good thing that stone is so durable and unyielding, so that neither the wind’s fury nor the pummeling rain can destroy it… It is said that stone’s heart is hard.
Lies! If that were the case, then why are mosques, madrasas, masjids and Sufi lodges so appealing? The Atik Valide Külliyesi in Üsküdar, for example -- why is it so seemingly companionable? The thing that excites us about this lodge is the elegance that flows between its stones. If you look at the courtyard, the walls, the windows, which are deaf to the outside and open to the inside, the doors, the rooms behind the doors… The stones waited disgruntled for quite some time, abandoned to fate, and as a result of the destructiveness of fate, fell from their places like hair and teeth. But rejuvenation was also written into their fate, with the emergence of the right man for the job, a skilled man who appeared on the scene; the name of this designer-architect is Semih İrteş. And at his side is an old, trusted friend -- illuminator Mamure Öz.
For years, the two buddies and artists met the demand for their pieces from a run-down studio in their apartment building. Now, they are in the right spot, a place well-suited for the traditional arts, this exquisite Sufi lodge, which is as suitable for art as art is for itself… With brushes in their hands, these two work at a breathless pace between gold gildings in these rooms; the calligraphy, miniatures and illuminated pieces are fitting for these walls. The autumn flowers in the garden fall upon the pieces of paper Öz is working on -- the pinks look pinker and the green looks greener. This place is now a mural studio. Let’s lean back against the walls of the Sufi lodge that Koca Sinan made and ask İrteş our questions: Who can be called a nakkaş? What places can be called nakkaşhanes? What is the story of the transformation of this old Sufi lodge, weathered by the ages, into an Ottoman nakkaşhane?
Perpetuating the nakkaşhane system
The word nakkaş is used to designate one who had attained a level of competence in both the design, composition and implementation of the creation of works of art. As can be understood, this requires multiple skills -- not everyone who works in decoration is a nakkaş. When it comes to the nakkaşhanes of Ottoman times, they were places where illuminators, muralists and nakkaşes would work together in one place; they both produced art and trained students. We’re talking about a system that is difficult to understand, where those who emerge from “ghetto” studios are immediately known as “masters.” This system is alive at Atik Valide, where some young apprentices that haven’t left their teachers’ sides for 15 years are now beginning to etch designs while others press gold. Öz directs the illumination work and İrteş manages the architectural design work.
Exhibitions are important, as it is through these that the doors of the nakkaşhane are opened to art lovers. This location and the pieces of art adorning the walls make it possible to see the details of a civilization. A book in İrteş’s hand has decorations not just on the outside of the book cover, but on the inside as well. “This is a delicacy of the heart,” the artist says. “Think about the society of a civilization that would take such care to decorate books so finely. The lifestyle of the members of that society, the way they would behave toward one another… How they sit, how they stand, what they eat, what they drink -- think about it. It is because we’ve lost this refinement that we are poking each others’ eyes out.”
The orders that come are from people with a desire in their hearts to see panels with religious inscriptions on the walls of their homes. Öz says: “One of our goals is also to bring works of art to walls. There is a strict discipline in the creation of this art. There are a limited number of artists who implement the required discipline accordingly when creating pieces. We see ourselves as a group that is preparing to pass over our duties to the next generation.” Those who take courses at this place need patience as well, as the classes take place only once a week and therefore extend over the course of many years -- without a true love and passion for the work, one would lose interest. It’s a bit surprising to find that this Sufi lodge that İrteş restored out of his own means is being rented out to him. In 10 years, he must also renew his contract. One would have expected that some institution or foundation would have restored this place, not a lone artist -- or that some lover of art would ensure the future of this place. Wouldn’t that be grand?
Caferağa Madrasa Applied Handcrafts Center:
One of the longest-standing centers of education in traditional Turkish arts is the Caferağa Madrasa. Calligraphy, illumination, miniature and ebru classes are available during weekdays and weekends. The monthly cost for one three-hour class a week is TL 135. The center is closed on Mondays. Call 212 513 36 01 or visit www.tkhv.org
Topkapı Palace illumination course:
Illumination courses are given on Saturdays at the palace. The instructors are Mamure Öz and Semih İrteş. In December, an entrance examination is held for students, and about 20 students are accepted annually. The course is free of charge. For information, 212 512 04 80
Küçükayasofya Madrasa:
This madrasa, a structure right next to the Küçükayasofya Mosque that was restored and opened to the public, is a great place to relax with its tranquil garden, but there are different studios hidden within each of its cells. For information on calligraphy, illumination and ebru courses offered here, contact the Ahmet Yesevi Foundation: 212 638 50 12
Picture: Nakkaş Semih İrteş (second left) guides his students at the Valide-i Atik complex built by Architect Sinan, which also teaches illumination, marbling, miniature and calligraphy.
People hold stone in high esteem; it’s a good thing that stone is so durable and unyielding, so that neither the wind’s fury nor the pummeling rain can destroy it… It is said that stone’s heart is hard.
Lies! If that were the case, then why are mosques, madrasas, masjids and Sufi lodges so appealing? The Atik Valide Külliyesi in Üsküdar, for example -- why is it so seemingly companionable? The thing that excites us about this lodge is the elegance that flows between its stones. If you look at the courtyard, the walls, the windows, which are deaf to the outside and open to the inside, the doors, the rooms behind the doors… The stones waited disgruntled for quite some time, abandoned to fate, and as a result of the destructiveness of fate, fell from their places like hair and teeth. But rejuvenation was also written into their fate, with the emergence of the right man for the job, a skilled man who appeared on the scene; the name of this designer-architect is Semih İrteş. And at his side is an old, trusted friend -- illuminator Mamure Öz.
For years, the two buddies and artists met the demand for their pieces from a run-down studio in their apartment building. Now, they are in the right spot, a place well-suited for the traditional arts, this exquisite Sufi lodge, which is as suitable for art as art is for itself… With brushes in their hands, these two work at a breathless pace between gold gildings in these rooms; the calligraphy, miniatures and illuminated pieces are fitting for these walls. The autumn flowers in the garden fall upon the pieces of paper Öz is working on -- the pinks look pinker and the green looks greener. This place is now a mural studio. Let’s lean back against the walls of the Sufi lodge that Koca Sinan made and ask İrteş our questions: Who can be called a nakkaş? What places can be called nakkaşhanes? What is the story of the transformation of this old Sufi lodge, weathered by the ages, into an Ottoman nakkaşhane?
Perpetuating the nakkaşhane system
The word nakkaş is used to designate one who had attained a level of competence in both the design, composition and implementation of the creation of works of art. As can be understood, this requires multiple skills -- not everyone who works in decoration is a nakkaş. When it comes to the nakkaşhanes of Ottoman times, they were places where illuminators, muralists and nakkaşes would work together in one place; they both produced art and trained students. We’re talking about a system that is difficult to understand, where those who emerge from “ghetto” studios are immediately known as “masters.” This system is alive at Atik Valide, where some young apprentices that haven’t left their teachers’ sides for 15 years are now beginning to etch designs while others press gold. Öz directs the illumination work and İrteş manages the architectural design work.
Exhibitions are important, as it is through these that the doors of the nakkaşhane are opened to art lovers. This location and the pieces of art adorning the walls make it possible to see the details of a civilization. A book in İrteş’s hand has decorations not just on the outside of the book cover, but on the inside as well. “This is a delicacy of the heart,” the artist says. “Think about the society of a civilization that would take such care to decorate books so finely. The lifestyle of the members of that society, the way they would behave toward one another… How they sit, how they stand, what they eat, what they drink -- think about it. It is because we’ve lost this refinement that we are poking each others’ eyes out.”
The orders that come are from people with a desire in their hearts to see panels with religious inscriptions on the walls of their homes. Öz says: “One of our goals is also to bring works of art to walls. There is a strict discipline in the creation of this art. There are a limited number of artists who implement the required discipline accordingly when creating pieces. We see ourselves as a group that is preparing to pass over our duties to the next generation.” Those who take courses at this place need patience as well, as the classes take place only once a week and therefore extend over the course of many years -- without a true love and passion for the work, one would lose interest. It’s a bit surprising to find that this Sufi lodge that İrteş restored out of his own means is being rented out to him. In 10 years, he must also renew his contract. One would have expected that some institution or foundation would have restored this place, not a lone artist -- or that some lover of art would ensure the future of this place. Wouldn’t that be grand?
Caferağa Madrasa Applied Handcrafts Center:
One of the longest-standing centers of education in traditional Turkish arts is the Caferağa Madrasa. Calligraphy, illumination, miniature and ebru classes are available during weekdays and weekends. The monthly cost for one three-hour class a week is TL 135. The center is closed on Mondays. Call 212 513 36 01 or visit www.tkhv.org
Topkapı Palace illumination course:
Illumination courses are given on Saturdays at the palace. The instructors are Mamure Öz and Semih İrteş. In December, an entrance examination is held for students, and about 20 students are accepted annually. The course is free of charge. For information, 212 512 04 80
Küçükayasofya Madrasa:
This madrasa, a structure right next to the Küçükayasofya Mosque that was restored and opened to the public, is a great place to relax with its tranquil garden, but there are different studios hidden within each of its cells. For information on calligraphy, illumination and ebru courses offered here, contact the Ahmet Yesevi Foundation: 212 638 50 12
Picture: Nakkaş Semih İrteş (second left) guides his students at the Valide-i Atik complex built by Architect Sinan, which also teaches illumination, marbling, miniature and calligraphy.
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