colophons, while two of them, numbered 26 and 173, do not (cat. 47, 48).A manuscript scribed by Ahmed Suhrawardi, one of Yaqut’s important agents,often referred to as the “Second Yaqut”, can also be found in the Museum ofTurkish and Islamic Art. The Qur’an that Müstakimzade mentioned in his book,“Tuhfe-i Hattatin” 44 , is today in the museum’s collection, recorded as number486. This work, dated 718/1318, was formerly preserved in the Haghia SophiaLibrary. The style and decoration of this Mushaf are strongly reminiscent of thetechnique of Yaqut (cat. 53).In the museum are two Mushafs scribed by Abdullah b. Mahmud al-Sayrafi,one of the followers of Yaqut. He learned calligraphy from one of Yaqut’s pupils,Seyyid Haydar Gundenuvis. However, he is numbered among the Ustâdân-ıSeb’a. 45 One of the works contains a colophon (inv. no. 178). The other is attributedto Abdullah Sayrafı, because of this sentence found at the end of the work: “Thismanuscript is believed to be the work of Abdullah Sayrafî Efendi, the teacher ofthe late Calligrapher Sheikh Hamdullah Efendi” (inv. no. 487, cat. 56).Another of the Seven Masters who followed in the footsteps of Yaqut wasErgun b. Abdullah al-Kamili, who learned Aqlam al-Sitta calligraphy from Yaquthimself. He died in the year AH.744/CE.1343. Two Mushafs scribed by Ergun b.Abdullah al-Kamili, complete with colophons, are recorded in the museum’sMushaf collection (inv. no. 202, 452, cat. 55).Very little is known about another of Yaqut’s followers, Yahya b. Nâsır al-Jamalial-Sufi. He is often confused with another calligrapher from Edirne named YahyaSufi, who lived during the time of Mehmed the Conqueror (inv. no. 430). 46Ali b. Malik al-Hafız al-Sebzvari was another of Yaqut’s important disciples. 47The fourth Mushaf that he wrote is found in the museum (inv. no. 490). 48An important Aqlam al-Sitta calligrapher of the Timurid Period, Shams al-Baysunghuri, was born in Herat. He wrote important works in the style of Yaqut.A magnificent Mushaf, a masterpiece of calligraphy and illumination, was scribedin the style of Yaqut, in naskh script (inv. no: 294, cat. 69). 4944 Tuhfe–i Hattatin: Calligraphers’ Paragon (Translator’s note)45 For more about his life see Ali Alparslan, “Abdullah–ı Sayrafî”, Türkiye Diyanet Vakfı İslamAnsiklopedisi, (DIA), Istanbul, Türkiye Diyanet Vakfı, 1988, v. I, p. 132.46 For more about this manuscript see Hat San’atı”, p. 189; Museum of Turkish and Islamic Art, p. 202– 203.47 For more about his life see Müstakimzade, p. 321– 322.48 Inv.no. 490. The Mushaf has 11 lines in naskh script to a page. There are no rosettes to mark thesections. The first page of the text is illuminated. The surah headings are scribed in gold leaf on a gildedbackground. There are a total of 386 folios. Page 385 (b) is the colophon which indicates this is the 4 thMushaf he scribed and that he hoped to scribe 100 more. The date on the Mushaf is 8 Dhu al–Qa‘dah,899/1494.49 Inv. no. 294 measures 26.4 x 35. 5 cm. and has 13 lines of naskh script per page. A total of 280 folios,the colophon indicates that it was scribed by the calligrapher, imitating of the style of Yaqut. It is dated22 Ramadan, 837/2 May 1434. According to inventory records, it was brought to the museum from the70
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