Islamic Calligraphy Research Articles

PENGEMBANGAN INDUSTRI KALIGRAFI: PELUANG DAN TANTANGAN MENINGKATKAN EKONOMI UMAT ISLAM

The Islamic calligraphy industry has great potential to improve the economy of Muslims through various forms of commercialization and cultural preservation. The main opportunities include the art and collection market, education and training, as well as the development of creative industries with the application of calligraphy to design and digitalization products. Apart from that, cultural and religious tourism that utilizes calligraphy can attract tourists and improve the local economy. However, the industry faces challenges such as lack of financial support, difficulties in accessing global markets, copyright protection issues, and a lack of adequate education and training. Strategies to overcome these challenges include increased financial support, stronger copyright protection, better education and training, and the use of digital technology. With the right approach, the calligraphy industry can develop rapidly and contribute significantly to the Muslim economy.

THE HISTORICAL BEDROCK OF HOLY QUR’AN’S MANUSCRIPT IN MALAYSIA: A STUDY ON ITS STYLE OF CALLIGRAPHY AND ILLUMINATION

The focus of this article is to examine the historical foundation of the Holy Qur’an’s manuscript in Malaysia, with specific attention to its calligraphic style and illumination. Islamic calligraphy and manuscript traditions hold significant importance within the Malaysian Muslim heritage. These traditions have been inherited and evolved over generations, with the earliest examples of Arabic calligraphy being found in the Holy Qur'an, commonly inscribed in a script known as Kufic. The historical roots of Islam are deeply intertwined with the Holy Qur'an's manuscript, making it a primary source for understanding the advent of Islam. In this research, an extensive array of resources from the Islamic Art Museum Malaysia (IAMM) and the National Library of Malaysia (NLM) were utilised, alongside personal collections and secondary sources. Data analysis involved employing philological, comparative, deductive, and inductive methodologies. Through this approach, it was revealed that the production of Malay Holy Qur'an's manuscripts has been significantly influenced by local creative input and intellectual contributions from regions such as Turkey, China, and Persia. The study particularly accentuates the diverse calligraphic and illumination techniques across different nations. Notably, manuscripts from the west coast of Peninsular Malaysia, specifically from Malacca and Johor, exhibit distinct artistic qualities that set them apart from those originating from the east coast, including Kelantan and Terengganu. This underscores the prevalence of varied artistic expressions resulting from a broad spectrum of cultural interactions. The development of calligraphy and illumination methods in Malaysian Holy Qur'an's manuscripts mirrors a wide range of artistic expressions, which are shaped by both local innovation and broader Islamic intellectual traditions.

WOLIO SCRIPTURE AS A SOURCE OF INSPIRATION IN THE CREATION OF ISLAMIC CALLIGRAPHY ART

This research is based on developing the Wolio script into the creation of Islamic calligraphy paintings. The method applied uses a creation approach from Husein Hendriyana's theory regarding creating works (practice-led research). Through 4 stages of creation, starting with 1) Pre-design, containing preliminary research. 2) Designing and making designs/drawings using the Wolio script and the Buton Palace fort. 3) Embodiment, applying images into visual calligraphy, and 4) Appreciation exhibition. Data collection techniques were collected through observation, interviews, and documents (document study), then continued with a presentation of the creation process and the results achieved. This research suggests that Wolio script writing can be formulated into Islamic calligraphy. This creation resulted in 10 works using plaque technique painting as media with different themes/backgrounds, interpreting the Wolio script within the scope of the Buton palace as a primary source developed into artistic creations of Arabic script calligraphy. The final stage is that the works are exhibited to gain public appreciation. So that interaction and communication can be established, which inspires an increase in experience and knowledge, especially in artistic practice in Islamic calligraphy writing. Based on the evaluation results, this work is suitable as a reference for creative calligraphy. Seeing this potential, I recommend that the Cultural Heritage Development Agency coordinator in Kamali Baadia collaborate to create creative calligraphy using the Buri Wolio script.

Placement Principles of Islamic Calligraphy in Architecture: Insights from the Al-Hambra and Al-Azem Palaces

This paper addresses a critical gap in the study of Islamic architecture by exploring the interconnected relationship between Arabic calligraphy and architectural design. Specifically, it examines the principles guiding the placement of Islamic calligraphy within the interior and exterior spaces of Islamic public buildings through a qualitative analysis of two notable case studies, the Al-Hambra Palace in Granada, Spain, and the Al-Azem Palace in Hama, Syria. This research elucidates fundamental principles that underpin the integration of calligraphy in Islamic architectural contexts. To enhance the robustness of the findings, interviews were conducted with three expert master calligraphers, providing skillful insights that enrich the understanding of calligraphy placement. This study reveals significant implications for the decoration of walls and ceilings in Islamic buildings. However, the findings are limited by the scope of the case studies and the subjective interpretations of the interviewed experts. This research contributes valuable knowledge to the field, informing contemporary architectural practices and the preservation of cultural heritage.

BISNIS KALIGRAFI DALAM TINJAUAN EKONOMI ISLAM DI RUMAH KALIGRAFI AN-NIDA MEDAN-SUMATERA UTARA

The art of Islamic calligraphy is a work of art that has its own characteristics of beauty so that it has a high selling value. At this time, many institutions or special places were deliberately built to foster one's talent for the art of calligraphy as well as to become sales centers for calligraphy tools or even the works of calligraphy itself, one of which is the An-Nida Calligraphy House. This study aims to find out how the calligraphy business is developing according to economics at the An-Nida Calligraphy House from its inception to today. the method used in this study is a qualitative method, through literature review and interviews as data collection techniques, and descriptive statistics are data analysis techniques used. The results of this study indicate that the development of the calligraphy business at the Calligraphy House which was built in 2017 has increased every year, and the various types of goods traded are increasingly diverse. This is evidenced by the increase in consumers and the progress of the construction of the Calligraphy House from year to year.

PELATIHAN SENI KALIGRAFI UNTUK MENINGKATKAN KREATIVITAS ANAK DI DESA RIDOGALIH

TPQ Nurul Karomah is a place of religious-based learning located on Hamlet 2. Ridogalih Village, Cibarusah District, Bekasi Regency Learning at TPQ Nurul Karomah is carried out every day in the afternoon or evening. The children of TPQ Nurul Karomah still lack the ability to understand the art of Islamic calligraphy, because basically at TPQ Nurul Karomah itself there has not been any implementation or even special calligraphy art training for TPQ Nurul Karomah children. There the teachers only applied the laws of tajwid, mufrodat in Arabic, and memorized short letters of the Koran. Based on the problems at TPQ Nurul Karomah, the author was motivated to carry out training activities in the art of Islamic calligraphy, with the aim of increasing children's creativity at TPQ Nurul Karomah. The service method carried out by the author is in the form of calligraphy art training which has 3 stages, namely the preparation, implementation and evaluation stages. The training program itself was carried out at TPQ Nurul Karomah involving 30 children, as the main subjects in this program. The results of the service show that community service activities have an impact, namely (1) Increasing the creativity of Ridogalih village children in writing Arabic through the art of calligraphy (2) can have a positive impact on children in developing their creativity, because carrying out this activity can provide a good understanding to TPQ children by holding training.

CALLIGRAPHY LEARNING CONCEPT IN PONDOK PESANTREN MODERN WALI SONGO, PONOROGO DISTRICT, EAST JAVA

The art of Islamic calligraphy developed along with the development of Islam brought by the Prophet Muhammad SAW. Until now, calligraphy has grown rapidly and become a popular work of art among the general public to various Islamic institutions. Especially in Islamic boarding schools in various regions, both traditional and modern. Researchers made the Wali Songo modern boarding school as an object of research. The purpose of conducting this research is so that researchers can find out the concept of calligraphy learning at the Wali Songo modern boarding school. Researchers used descriptive qualitative methods in conducting research, using a literature review approach to collect similar data, and conducting interviews with respondents who had a relationship with the Wali Songo modern boarding school. The results obtained from this research are that the Wali Songo modern boarding school uses modern media in the learning process such as blackboards, markers, blackboard rulers, notebooks, reference books, calligraphy special pens, and liquid ink. The students get special guidance from teachers who are competent in the field of calligraphy.

Northern Africa or Central Iran? An Investigation in Production Place of a Fragmentary Kufic Qurʼan at the J. Paul Getty Museum

One of the ambiguities in the history of Islamic calligraphy is the determination of the regions where each script prevailed in the first three Hijri centuries. This ambiguity is due to the dispersion of book leaves and the lack of reliable colophons in early copies. The J. Paul Getty Museum preserves a few leaves of a Qurʼan that is one of the significant examples of Early Abbasid style. This Qurʼan was discovered in Kairouan, Tunisia, so historians have attributed its origin to that place. Yet, evidence proves it was produced in Central Iran. This evidence includes the eastern-system diacritic and the Abjad script used in the sign for the numeral ten āyahs; moreover, its script resembles the monumental script of some of the signed New style Qurʼans copied in Isfahan and Rayy. Because the Getty Qurʼan is copied in D.I script (the subgroup described by codicologist and paleographer François Déroche), the D.I script can be attributed to Central Iran.

History of Islamic Calligraphy in the Ottoman Empire

The history of Islamic civilization during the Ottoman Empire (1299-1922 AD) is important to study because the Ottoman Empire was the largest Islamic Daulah and ruled for a long time throughout history. The purpose of this writing is to understand three main aspects: firstly, to comprehend the development of calligraphy art during the Ottoman Empire era; secondly, to explore the factors contributing to the advancement of calligraphy art; and thirdly, to analyze the implications of this progress. The research method employed in this study is the historical method. The sources used in this research consist of books and journals related to the history of the Ottoman Empire. This writing resulted in three things. First, the form of Ottoman Empire calligraphy in the form of Al-Qur'an writing, ornaments on religious buildings, and the establishment of a calligraphy school. Second, the factors for the advancement of calligraphy are religious enthusiasm, support from leaders, and love for calligraphy. Third, the implications of the art of calligraphy are the emergence of a new style of calligraphy, Istanbul being the center of Islamic calligraphy, and calligraphy can be used as a medium for learning mathematics. The research is expected to contribute to the implementation of the art of calligraphy as a worldly reflection on the word and to contribute thoughts to the development of Islamic calligraphy.Sejarah peradaban Islam pada masa Turki Usmani (1299 M-1922 M) sangat penting untuk dikaji karena Turki Usmani merupakan Daulah Islam terbesar dan cukup lama berkuasa sepanjang sejarah. Tujuan tulisan ini bertujuan untuk memahami tiga hal yaitu ingin memahami perkembangan bentuk seni kaligrafi pada era Turki Usmani, faktor penyebab kemajuan seni kaligrafi dan implikasi kemajuan seni kaligrafi. Metode penelitian yang digunakan dalam studi ini adalah metode historis. Sumber-sumber yang digunakan dalam penelitian ini adalah buku dan jurnal yang berkaitan dengan penelitian sejarah Kekaisaran Utsmaniyah. Tulisan ini menghasilkan tiga hal, Pertama, wujud kaligrafi Turki Usmani berupa penulisan Al-Qur’an, ornamen pada bangunan keagamaan, dan didirikannya sekolah kaligrafi. Kedua, faktor kemajuan kaligrafi yaitu semangat keagamaan, dukungan dari pemimpin, dan kecintaan terhadap kaligrafi. Ketiga, implikasi seni kaligrafi yaitu munculnya gaya baru kaligrafi, Istanbul menjadi pusat kaligrafi Islam, kaligrafi dapat digunakan sebagai media pembelajaran matematika. Penelitian diharapkan dapat memberikan kontribusi dalam pengimplementasian seni kaligrafi sebagai refleksi duniawi atas firman serta memberikan sumbangan pemikiran dalam pengembangan kaligrafi Islam.

The Art of the Faithful Heart: A Comparison of Classical Christian and Islamic Art Traditions

When a translation of a text is complete, the presentation of the text should, as much as possible, avoid any influence that could reduce the impact or acceptability of the contents of the text. This is especially true of faith-critical texts, whether they are of Christian or Islamic origin. The study and comparison of different art traditions can help us reduce the possibility of such unfortunate influences. Since Christians and Muslims have very different assumptions even about the nature of God (or Allah) as he reveals himself through sacred writings, it is not surprising that Christians and Muslims also have very different art traditions. The paper first introduces the principles of classical Western Christian art and of classical Islamic art, since these traditions were approximate contemporaries. It then compares differences in color symbolism, important symbols in each faith tradition (including Islamic calligraphy), and in the forms and functions of traditional architecture.

Maghribi Mabsut Khat in Indonesia: History and Acceptance Factor Analysis

Islamic calligraphy or khat is the oldest Islamic art found in Indonesia and has experienced a long phase in its development. The peak phase is in Musabaqah Tilawatil Qur'an (MTQ) which includes a khat competition branch Musabaqah Khattil Qur'an (MKQ). MKQ has given many influences to the art of khat, one of which is to ground the seven styles of khat used practically by Indonesian khattat, namely Naskhi, Thuluth, Diwani, Diwani Jali, Farisi, Riq'ah, and Kufi. But, the development of khat in Indonesia does not stop here, 2010 there are Indonesian khattat who managed to achieve international achievements in the branch of the competition for writing khat Maghribi Mabsut, a type of khat from Morocco that has never been recorded in the Indonesian khat universe. The acceptance of this khat continues to expand, as evidenced by the emergence of khat}t}a>t who also managed to make their achievements in the international arena. This study was conducted to answer two questions (1) how is the process of introducing Indonesian khattat to the Maghribi Mabsut khat type? (2) what are the factors that encourage the acceptance of Maghribi Mabsut khat among Indonesian khattat By using field research methods and sociocultural approaches, the results of this study are (1) Maghribi Mabsut khat is known in Indonesia through Indonesian students studying in Egypt (2) there are three factors of acceptance of Maghribi Mabsut khat, namely: education factor, technology adaptation factor and the breadth of opportunity factor.

Hat Sanatında Özgür Yorum: Karalamalar

Güzellik ve sanat iç içe geçmiş iki kavramdır. Bir bakıma güzellik, sanatın özüdür denilebilir. Her sanat dalında olduğu gibi hat sanatında da güzeli arama arzusu ve eşsiz eserler ortaya koyma çabası, hattatları sabırla çalışmaya ve kendi sınırlarını zorlamaya sevk etmiştir. Bir kitap sanatı olan hüsn-i hattın kelime manasının “güzel yazı” olmasına mukabil, daha iyisini yazmak uğruna harcanan çaba yorucu ve zahmetlidir, ancak sabırla çalışan elbette ki karşılığını alır. Başka bir deyişle “Muhakkak ki Allah güzeldir, güzeli sever!” hadis-i şerifi ışığında bu sanata gönül verenler, yazıyı daha muntazam yazma hususunda büyük ölçüde gayret gösterirler. Kişinin muntazam yazmayı başarması ise, sistematik çalışmasına bağlıdır. Yazıyı kaidelerine uygun ve ölçülü yazabilmek bıkmadan usanmadan, karamsarlığa kapılmadan çalışmakla mümkündür. Bu sebeple gerek öğrenme aşamasında ve gerekse sonrasında, harfler defalarca çalışma kâğıdına yazılarak el melekesi artırılır. Kelimeler ve harfler kâğıda kimi zaman noktalanıp ölçülendirilerek, kimi zaman da noktalanmadan yazılır. Talim amaçlı yapılan bu çalışmalar, başka bir deyişle karalamalar, hat sanatının temeli niteliğindedir.
 Arap alfabesiyle yazılan ve “karalama” adı verilen el alıştırmaları yazıyla uğraşan kişinin o an irticalen elinden çıkan harf veya kelimelerden oluşur ve çoğu zaman bir anlam ifade etmez. Bu çalışmanın amacı, karalamaların estetik unsurlarını ele almak ve zaman içerisinde uğradığı değişime mercek tutmaktır. Hattatların bu özgür yorumları gün geçtikçe daha fazla önemsenmekte ve hayranlık uyandırmaktadır. Harf bünyesini oluşturan kaidelerin dışında satır ve sınırlara bağlı kalmadan yazılan bu yazılar kendi içinde bir kompozisyon oluşturmakta ve çoğu zaman yazan kişiyi dahi hayrete düşürecek özgün çalışmalar ortaya çıkabilmektedir.

Calligraphy Business In Islamic Economic Review At An-Nida Calligraphy House Medan North Sumatra

Islamic calligraphy art is one of the works of art that has its own beauty characteristics so that it has a high selling value. At this time, many institutions or special places are deliberately built to foster a person's talent interest in calligraphy art and become a center for selling calligraphy tools or even calligraphy artwork itself, one of which is the An-Nida Calligraphy House. This research aims to find out how the development of the calligraphy business according to economics at An-Nida Calligraphy House since its inception until now. The method used in this research is a qualitative method, through literature review and interviews as data collection techniques, while the data analysis technique used is descriptive statistics. The results of this study indicate that the development of the calligraphy business at the Calligraphy House, which was built in 2017, has increased every year, and the variety of goods traded is increasingly diverse. This is evidenced by the increase in consumers and the progress of the construction of the Calligraphy House from year to year.

ARCHAEOLOGICAL ANALYSIS OF THE ARCHITECTURE OF THE OLD MOSQUE IN ULEE KARENG - BANDA ACEH

This study aims to analyze the architecture and its ornament of the old mosque in in Ulee Kareng – Banda Aceh. This old mosque is also known as the Masjid Tuha Ie Masen or Masjid Tuha Ulee Kareng. This study uses a qualitative approach through the descriptive analysis method. The research findings show that the shape of the Tuha Ie Masen Mosque building has undergone a change from its original form. There are several parts that have been renovated, including the roof, floors, and walls. The architectural form of the Tuha Ie Masen Ulee Kareng Mosque tends to be the same as that of old mosques in Indonesia. Archaeologically, the architectural form of the Tuha Ie Masen Mosque has similarities with the Tengku di Anjong Mosque and the Indrapuri Mosque. Meanwhile, when referring to the shape of mosque buildings outside Aceh, the Tuha Ie Masen Mosque also has similarities with mosques in the Java region, one of which is the Mosque of Demak. This can be seen from the shape of the roof, which has a terraced shape. As for the ornament, there are floral, geometric, and Islamic calligraphy motifs that are carved on several parts of the mosque.

THE ISLAMIC ART AND DESIGN ELEMENTS APPLIED IN THE ISLAMIC CITY, A CASE STUDY OF PUTRAJAYA ISLAMIC CITY

It is supposed to have three art components giving an Islamic identity: geometric, floral, and Islamic calligraphy. Putrajaya is created to present the Islamic city in Malaysia. The Islamic art components are highly applied to the buildings' motifs and ornamentations. However, the element of calligraphy is missing in the overall features of the Islamic city patterns. Therefore, this study aims to identify the Islamic components in Putrajaya's administrative public buildings. Then, to analyse the Islamic decorative elements and highlight the importance of calligraphy in determining the building's character and identity as one of the main elements that should be applied to Putrajaya's administrative public buildings. This paper analyses a few important buildings in the city of Putrajaya. Most of the required data were collected by doing photographic documentation and on-site studies besides semi-structured interviews with the government. The researcher chose Putrajaya city to be the selected research area, focusing on the public and administrative buildings. The researcher picked a few examples of public buildings for the study. In each building, the researcher recognizes the applied Islamic element that can be found in it. These buildings are the Moroccan pavilion, Putra Mosque, The Ministry of Finance, Masjid Tuanku, Mizan Zainal Abidin, and Complex Islam Putrajaya. The analyses determine several types of elements and components with tangible and intangible qualities that articulate their compositional order. Each type of component carries a special meaning and symbolization of Islamic culture. it is essential to apply calligraphy to represent the complete form of Islamic heritage. Further research is essential to create a guideline to help the designers and architects by providing the Islamic city's best image.

Education under ISIS: An analysis of the calligraphy and illustrations of the physical education curriculum

This article presents an unprecedented analysis of the Islamic State of Iraq and Syria (ISIS) primary school physical education curriculum focused on calligraphy and illustrations. Indeed, this research concentrated on describing, analyzing and understanding the context and the philosophy of the document, as well as its illustrations (Islamic calligraphy, pictures, among others). Semiotic and iconographic methods were used to conduct analyses of the data. Findings show several attempts to divert the meaning of the Muslim religion, notably through an ultra-rigorist vision and a total absence of girls or women. Our analyses lead us to believe that this curriculum, addressed mainly to the physical education teacher, was developed by ISIS as a preamble to the military preparation of future soldiers. Finally, the Islamic calligraphy used in the curriculum raises questions about the choice of type of calligraphy as well as its relevance within the context of an incomplete and rapidly developed document. This study provides a deeper understanding of the educational system set up by ISIS and its body of disciplinary texts.

AESTHETICS AND RECEPTION OF THE QUR’AN IN THE CALLIGRAPHY OF MOSQUES IN PROBOLINGGO INDONESIA

The art of calligraphy, the greatness of Islamic art, was naturally born amid the world of architecture. This can be proven in the various calligraphic decorations that fill mosques and other buildings, combined with the noble Qur’anic verses, hadiths, or the wise words of wise scholars. The Qur’an is written in various models of calligraphy with dazzling and varied decorations. This study analyzes the Aesthetics and Calligraphy Reception of the Probolinggo Regency Mosque from the perspective of the Living Qur’an. With the living Qur’an method, God’s verbal revelation is expressed in a tangible form in writing, which has been a long debate and has influenced civilization. The Qur’an became the main factor in the development of the art of Islamic calligraphy, so calligraphy was expressed to devote the power of the revelation of the Qur’an. Meanwhile, ornamentation is the development of a sense of beauty that is free from natural myths and is done by developing abstract patterns taken from the processing of floral, leaf, and polygon motifs. This study concludes that the aesthetics and reception of calligraphy at the Probolinggo mosque can be considered uniform, both at the Badridduja, Ar Raudhah, and Raudhatul Jannah mosques, even though the texts chosen are not the same. The color choices converge on green and gold, indicating they are identical to Islam, where the symbolic meanings are plants, trees, leaves, and forests. Meanwhile, the psychological meaning of green is growth, renewal, balance, harmony, and the environment. Green color mixed with Gold color, the eyes that will look at it make you feel happy with all the artful writing.

The banquet of the gods is a mess

Como as imagens fazem você pensar sobre a religião? This question was send to me by Rodrigo Toniol, organizer of the Jornadas sobre Alternativas Religiosas na América Latina in Rio de Janeiro, and was to be at the heart of a public dialogue with my colleague Hugo José Suárez. The rather general formulation of the question could obviously lead us into a whole lot of different directions: how are one’s thoughts provoked by saintly statues, byzantine mosaics, buddhist mandalas, Islamic calligraphy? How to understand the materiality of religion? Or how to understand religious prohibitions of making images? Yet I immediately took up Rodrigo’s question as an invitation to reflect on my move from being an anthropologist who writes about religion to an anthropologist who films religion. Not in the least because camera-based research and image making was the immediate common ground with Hugo.

The Integrations of Islamic Patterns in Malaysian Contemporary Art

The National Cultural Congress which was held in 1971 has brought the idea of national identity into art and served as a guideline for Malaysian artists in their creative process. In this context, Islam becomes one of the main elements in representing our cultural identity. As a result, Islamic patterns serve as symbols and styles that were applied in most contemporary art in Malaysia to interpret the connections between man, the universe and their Creator. This phenomenon has witnessed the emergence of many important and interesting works created by major Muslim artists with various unique methods of applying Islamic patterns. Consequently, the objectives of the present study are to explore the style of Islamic patterns integrated in Malaysian contemporary artwork, to examine the strategies or methods used by the artists in producing their artwork and finally, to analyze the philosophy and the concept of Islamic patterns that are being projected in Malaysian contemporary artwork. Works by five significant artists namely Dato’ Syed Ahmad Jamal, Sulaiman Esa, Fathimah Chik, Mastura Abd Rahman, and Ahmad Khalid Yusof have been chosen for the present study which used Feldman’s approach to art criticism as its methodology. The present study indicates that all 15 artworks from the five selected Malaysian artists implement the style based on the elements of the Malay cultural heritage as well as the influence of the Islamic concept and teaching. Most of the patterns and motifs found in all the artworks studied are directed to Islamic philosophy such as arabesque patterns, Islamic calligraphy, floral motif, and geometrical pattern. The present study also shows that the main strategy used in all the 15 artworks is in accordance with the four principles introduced by Ismail al-Faruqi comprising repetition, stylization, denaturalization, and abstraction. It is hoped that the present study will create awareness among Malaysian artists and audiences of the importance and significance of Islamic patterns in contemporary art.

Calligrapher Ahmed Rıf'at Efendi's Script Moulds of the Tahir Baba Dervish Lodge and Masjid Inscription

Sosyal ve siyasi sahada çalkantılı fakat sanat hayatında bir o kadar müspet gelişmeleri barındıran 19. yüzyıl, Osmanlı’da hayatın her alanında ıslahatlar çağı olarak görünür. Hat sanatı açısından önemli sanatkârlar bu devirde yetişmiş ve sonraki çağlara etki eden tekâmül hareketleri gerçekleşmiştir. Bununla birlikte Yeniçeri Ocağı’nın kaldırılması ve buna bağlı olarak Bektaşîliğin lağvedilmesi gibi keskin olaylar da yine bu devirde meydana gelmiştir. Takribi 18. yüzyılın sonlarında İstanbul Üsküdar’da kurulduktan sonra 1826 olaylarında yıkılan ve 1860’larda tekrar açılan, 1925’ten sonra ise tarih sahnesinden tamamen silinen Tahir Baba Tekkesi bu dönemlere şahitlik eden yapılardandır. Bugün tekkeye ait yalnız küçük bir hazire geriye kalmıştır. Devrin bir sanatkarı olan Ahmed Rıf’at Efendi tarafından yazılmış kitabe kalıpları, tekkenin varlığına ve serüvenine dair bir vesika hüviyetindedir. Bina ve kitabe bugün mevcut olmasa da metni günümüze ulaşmıştır. Konya Bölge Yazma Eserler Kütüphanesi BY8363’te yer alan kitabe kalıpları, hattat ve sanat kudreti hakkında olduğu kadar yazıldığı devre ve esere ait bilgileri bugüne taşımaktadır. Çalışmada Rıf’at Efendi’nin Tahir Baba Tekke ve Mescidi’ne ait kitabe metni, hat sanatı ve içerik bazında incelenmiştir. Kitabe metni yazı sanatı çerçevesinde hattatının kabiliyetini gösterirken muhtevasındaki tarih ve isimler ile tekkeye dair bilgileri teyit ederek günümüze ulaştırmaktadır.