A CALLIGRAPHIC EXCERCISE (QIT'A) COPIED BEFORE SULTAN 'ABDULMECID
PRIVATE COLLECTION OF PERSIAN AND INDIAN ALBUM PAGES
A CALLIGRAPHIC EXCERCISE (QIT'A) COPIED BEFORE SULTAN 'ABDULMECID

SIGNED MUSTAFA 'IZZET, OTTOMAN TURKEY, DATED AH 1267/1850-51 AD

细节
A CALLIGRAPHIC EXCERCISE (QIT'A) COPIED BEFORE SULTAN 'ABDULMECID
SIGNED MUSTAFA 'IZZET, OTTOMAN TURKEY, DATED AH 1267/1850-51 AD
Arabic manuscript on paper, with one line of large bold naskh above 4ll. of smaller fine naskh, separated with a gold band decorated with white saz leaves, gold and polychrome roundel markers, similar floral flourishes around the text, final line with signature of Mustafa 'Izzet and stating that it was done amam al-awal al-Amir al-Mu'minin 'Abdulmajid Khan, laid down between pink borders with silver saz leaves on wide blue card borders with two-colour gold illumination, backed with marbled paper, laid down on card, first and second line composed of different pieces of paper; together with another Ottoman qita in naskh signed Al-Sayyid Suleyman
Text panel 4 7/8 x 7 3/8in. (12.6 x 18.5cm.); folio 10¼ x 12 5/8in. (25.9 x 30.9cm.) (2)

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Andrew Butler-Wheelhouse
Andrew Butler-Wheelhouse

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Following the death of his father, Mustafa Izzet Efendi was sent from his birthplace of Tosya to the Fatih religious school in Istanbul, where he studied music. After impressing Sultan Mahmud II with his performance at the Hidâyet mosque in Bahçekapi, he was ordered to be sent to the Palace School, and went on to study there for three years. A highly skilled and accomplished musician, he also learned thuluth and naskh scripts from Çömez Mustafa Vâsif Efendi, and ta'liq and jali ta'liq from Yesârîzâde Mustafa Izzet Efendi. He went on to become a favourite of the Sultan, but felt stifled by court ritual, eventually leaving the palace to live the life of a dervish. Later, during the reign of Sultan Abdulmecid, he received a number of important official positions, including Chief of the Descendants of the Prophet. The creator of the 'Kadiasker School,' his students included Sefik Bey. Examples of his work is published in M. Ugur Durman, Eternal Letters: From the Abdul Rahman Al Owais Collection of Islamic Calligraphy, Sharjah, exhibition catalogue, Sharjah, United Arab Emirates, 2009, nos.38 and 38a-b, pp. 164-9, and M. Ugur Derman, Letters in Gold, exhibition catalogue, New York, 1998, nos.36-7, pp.116-9.