ANKARA MİLLİ KÜTÜPHANE’DE BULUNAN 50 GÜL- KARA 265 YER NUMALARI EL YAZMASI KUR’AN-IKERİM’İN HATAYİ GURUBU MOTİFLERİNİN TEZHİP SANATI AÇISINDAN İNCELENMESİ

ABSTRACT

Manuscripts that bear witness to the past and carry the artistic understanding of the period in which

they were madde to the present are documents that shed light on history. They serve as a bridge between

the past and the future. Therefore, the transfer of manuscripts that have survived to the presen to

future generations is the delivery of the cultural heritage we have inherited from the past. Among the

manuscripts of our cultural legacy The Holy Qur’ans have a uniquesignificance. Due to the importance

given to the religion of Islam, artists have poured all their skills into handwritten Qur’ans. The most

beatiful binding covers and examples of illumination artsa re found in Qurans written especially for the

libraries of sultans, viziers, and other state dignitaries. The main element in illumination arts, which

is applied with paints obtained from gold and soil and thin brushes are patterns and motifs that create

the patterns. The motifs in this form of art are executed with utmost precision on small areas and are

smaller and simpler than the motifs used in other decorative arts. In motif design, the artist creates the

motif by preserving the main lines of the motif he has chosen while adding their own interpretation. This

process of altering a motif is often referred to as “stylization”. Stylization is the most essential factor

that makes the illumination arts unique. The artist, while taking nature as a model, creates works with

their own approach, avoiding mere imitation. Hatayi group motifs are the most common motifs used in

illumination arts. Created by stylizing plants that are found in nature, the hatayi motifs consist of leafs

as well as stylized versions of rosebuds, vertical sections(hatayi) and bird-eye views of flowers(penç).

In the study; the Hatayi Group Motifs in the Holy Qur’an Manuscript written by Pir Mehmet Arapşah

in 1441 and located Ankara National Library with the Registration Number 50 Gül-Kara 265 has been

examined and evaluated in detail. In the hatayi, penç and rosebud motifs light blue, lemon yellow,

crimson, oxide yellow, and baby pink colors were used and shading was done with different tones of the

same colors. It has also been observed that two or three colors can be used in the same motif. When it

comes to stems and leaves, gold and light lemon yellow are used. In the work along with hatayi group

motifs cloud and rumi motifs are also used intensively. In the whole work, cloud, rumi and hatayi group

motifs are used harmoniously and with great mastery, maintaining harmony and balance.

Keywords: Manuscripts, The Holy Qur’an, illumination arts, motifs