Turkish calligraphy

[2] While other traditional Turkish art forms declined due to the influence of European techniques, styles, tastes, and imports, calligraphy has continued to flourish in Turkey until the present day.

However, with assistance from the Centre for Islamic Art and Culture IRCICA in Istanbul, new generations of Turkish calligraphers have continued to emerge.

One female calligrapher, Emine Servt Hanim, wrote nine hilyas for her ijaza in the year AH 1291 (1874 CE), at around the age of eighteen.

Hanim's nine hilyas, written in exquisite and intricate detail, were considered a significant achievement for a female calligrapher of the time.

[1] The Ottoman calligraphy style continued to change without altering the basic shapes of the letters and incorporating the modern techniques that the calligrapher preferred.

When Ottoman architecture, music, and fine art were modified by Western influences, calligraphy remained untouched.

This was likely due to Europe's lack of calligraphic art forms and the master and apprentice system, which preserved established principles that were passed down from one generation to the next.

They employed decorative depictions of animals and plants to produce a classical ornamental style distinguished by its flat surfaces and vivid color scheme.

However, Ottoman illumination began to steadily deteriorate and lose its distinctiveness as it was influenced by Western art in the 18th century.

Turkish calligraphy evolved into an art form over time, utilized to produce elaborate and innovative designs in sculpture and painting on canvas.