Calligrapher Ottoman Sultans: A Tradition of Devotion and Mastery

Calligraphy in the Ottoman Empire was more than an art form; it was a spiritual practice and a reflection of one’s inner discipline and reverence for the divine. Ottoman sultans, as leaders of both the state and the faith, embraced calligraphy as a way to express their personal devotion to Islam, while also symbolizing their role as protectors and patrons of the Islamic arts. This deep association between calligraphy and spirituality, combined with the Ottoman Empire’s emphasis on aesthetics and cultural refinement, naturally drew many sultans to become skilled calligraphers.

The saying goes, “The Noble Qur’an was revealed in the Hejaz, recited in Egypt, and written in Istanbul” (though Istanbul also excelled in recitation.) Qur'anic "writing" extended beyond bound manuscripts to include suras inscribed in the jali thuluth style on mosque walls, with verses adorning domes and plaquesin the Ottoman Empire, and Ottoman calligraphy flourished and continuously evolved in this realm over centuries, reaching unmatched excellence in Istanbul (M. Uğur Derman, Calligraphy in Istanbul.)

The Spiritual and Cultural Significance of Calligraphy

In the Islamic world, calligraphy holds a uniquely revered status. Since Islam discourages the depiction of living beings, written words, especially verses from the Quran, became the primary medium for artistic expression. The Quran itself, being the literal word of God in Islamic belief, elevated the act of writing into a sacred task. For the Ottomans, this connection between art and faith made calligraphy one of the most respected and cultivated skills within the empire.

Ottoman calligraphy developed its own distinctive styles, including thuluth and naskh, each requiring years of training and immense concentration. The intricate and elegant forms of these scripts adorned everything from imperial decrees and Quranic manuscripts to monumental architectural works. Ottoman sultans, aware of their role as custodians of the faith and the arts, often took personal pride in mastering these scripts, viewing calligraphy not just as a form of artistic expression but as a medium through which they could demonstrate their religious piety, personal discipline, and dedication to the cultural legacy of their empire.

The Techniques and Learning Process 

Mastering Ottoman calligraphy required rigorous training under skilled masters. The sultans, despite their demanding roles, dedicated significant time to learning the craft from the finest calligraphers of their era. The process involved learning the correct proportions of letters, mastering the use of the reed pen (kalem,) and perfecting the flow and balance required for beautiful compositions.

Calligraphy was often created on special paper, using ink made from soot or other organic materials. Sultans, like any calligraphy student, would spend years practicing basic strokes before moving on to complete words or sentences. The ultimate goal was to create fluid, harmonious lettering that could convey both spiritual meaning and visual beauty.

Notable Ottoman Sultans as Calligraphers

Bayezid II (1447–1512)

Bayezid II is remembered not only for his role as a statesman but also for his artistic talents, particularly in calligraphy. His love for the art was deeply intertwined with his religious devotion. He practiced the thuluth and naskh scripts, two of the most prestigious forms of calligraphy, often used in Quranic manuscripts and monumental inscriptions​​. His personal involvement in the craft was an extension of his religious life, illustrating the importance he placed on spiritual purity and cultural legacy.

Sultan Bayezid received calligraphy lessons from Sheikh Hamdullah, a revered master of Islamic calligraphy, marking an influential period in Ottoman art that elevated the art of Islamic calligraphy to new heights. Bayezid II not only studied calligraphy under the guidance of Sheikh Hamdullah, but he also wrote poetry, blending his appreciation for the written word with artistic expression.

Ahmed III (1673-1736)

Ahmed III was a ruler with a deep intellectual curiosity and commitment to the arts, particularly calligraphy. Under the mentorship of the esteemed calligrapher Hafiz Osman Efendi, Ahmed III refined his calligraphic talents, drawing inspiration from his elder brother, Sultan Mustafa II, who also encouraged his artistic pursuits. This period marked the emergence of the Sultan's unique calligraphic style, blending his royal training with a passion for literary and visual arts. His dedication to Islamic calligraphy not only contributed to the cultural life of the Ottoman court but also placed him among the Ottoman sultans celebrated as both patrons and practitioners of calligraphy​​.

Ahmed III’s mastery is further showcased in the inscriptions he designed for public monuments. Examples include inscriptions on the fountains he commissioned at Bab-ı Hümayun in his own name and at Üsküdar in his mother’s name, both displaying his command of large thuluth. Additional examples can be seen at the entrance of the Audience Chamber and the Stone Artifacts Section in Topkapı Palace, where his Basmala (in large thuluth) stands as a testament to his skill. His work on the Kelime-i Tawhid plaque in the palace, signed with his tughra, is considered one of his masterpieces. 

Mahmud II (1785–1839)

Mahmud II’s reign was marked by extensive reforms and modernization, but he also made time to refine his skills in calligraphy. He is arguably the most prominent calligrapher among Ottoman sultans. Under the tutelage of masters like Mustafa Rakım, he not only refined his skills but also created a lasting influence on calligraphic styles within the empire, leaving behind numerous works that are still revered today.Under the guidance of the renowned calligrapher Mustafa Rakım, Mahmud II helped elevate the celi style, a larger script used for monumental inscriptions, to new heights.

During his years as a prince, Mahmud II practiced thuluth and naskh calligraphy under the instruction of the palace calligraphy tutor, Kebecizade Mehmed Vasfî. His works adorn the walls of the revered Hırka-i Saâdet and Has Oda in Topkapı Palace, as well as prominent mosques throughout Istanbul, Bursa, and Edirne, including the Hagia Sophia and Selimiye. Additionally, Mahmud II displayed a personal touch by hanging a plaque in his father Abdulhamid I’s mausoleum. Alongside his passion for calligraphy, the sultan was deeply engaged in music and literature, composing poetry under the pen name “Adli.”

Abdülmecid I (1839–1861)

Sultan Abdülmecid I was another sultan who embraced the art of calligraphy, particularly favoring the rik’a script, which he helped refine. His calligraphic works, found in official documents and royal decrees, highlighted the connection between the Ottoman ruler and the written word of God. His contributions helped make rik’a one of the most widely used scripts across the empire​.

Abdülmecid I, trained in calligraphy from his youth under prominent instructors like Mehmed Tahir Efendi and later Kazasker Mustafa İzzet Efendi, attained mastery in thuluth and naskh scripts by 1843. Unlike his father, he adhered to the style of Mahmud Celaleddin and earned the title "Celaleddin-i Salis" for his dedication. Abdülmecid's inscriptions grace Yakacık Mosque, Ortaköy, Dolmabahçe, and many other mosques, where he penned sacred names and hilye-i sa’ada panels. His refined pieces, including celî thuluth plaques, remain preserved in museums and collections, underscoring his unique place in Ottoman calligraphy.

Abdülaziz (1830-1876)

Abdülaziz, who reigned as Ottoman Sultan from 1861 to 1876, was a distinguished calligrapher, having received training in the art form during his life. Abdülaziz developed a particular affinity for monumental inscriptions and left his mark on several mosques and palaces. His elegant strokes and clarity in the jali thuluth script were widely admired, and his inscriptions contributed to the Ottoman architectural landscape as symbols of his devotion and skill​​.

In addition to his inscriptions, Abdülaziz was involved in the creation of calligraphic panels. He valued the beauty of Arabic script not only as an aesthetic but as a way to integrate spiritual and cultural identity into public spaces. Abdülaziz’s works, characterized by his refined execution in jali thuluth and riq’a, are remembered as some of the last royal calligraphic contributions before the end of the Ottoman sultanate, blending his personal dedication with his role as an imperial patron​.

Abdülhamit II (1842-1918)

Abdülhamit II, like many Ottoman sultans, held a strong appreciation for calligraphy and commissioned numerous valuable works, particularly Qur'ans. Despite limited documentation about his own proficiency, it is known that during his era, he maintained close relations with leading calligraphers. His association with the esteemed calligrapher Kazasker Mustafa Izzet Efendi is noteworthy, as Izzet Efendi's works were present in his life and held special significance. One such example is a manuscript copy of the Qur'an reportedly gifted during Abdülhamit II's wedding ceremony to Müşfika Kadınefendi.

Abdülhamit II, like other Ottoman sultans, utilized calligraphy in both his daily life and bureaucratic affairs, reflecting the deeply ingrained tradition of using this art form within the Ottoman administration and royal practices. While he shared this broader cultural norm, what distinguishes him is the rare existence of a single large tuluth panel known to bear his signature. This unique artifact stands as a testament to his engagement with the art, despite his more limited output compared to other royal patrons, and underscores his role in sustaining and honoring Ottoman calligraphic traditions.

Conclusion: A Lasting Legacy

The Ottoman sultans’ engagement with calligraphy was an essential aspect of their identity as both rulers and devout Muslims. Through calligraphy, they expressed their spiritual devotion, upheld their cultural heritage, and left a lasting artistic legacy that continues to inspire admirers of Islamic art today. Their works, found in mosques, manuscripts, and royal decrees, remind us of the powerful role that art and faith played in the Ottoman imperial court.

Sources:

• Bayezid II - Ketebe
• Calligraphy Works of Ahmed III - Fikriyat
• One of Our Calligrapher Sultans Ahmed III - Fikriyat
• The Calligraphy of Mahmud II - Sabancı Müzesi
• Artist Sultan Abdülmecid I - Ketebe
• Sultan Abdülaziz - Kalem Güzeli
• Calligraphy in Istanbul
• Abdülhamit II - Fikriyat

Embrace the Heritage of Islamic Art

Create your Goldframer account today and embark on your journey in art ownership!

BUY NOW