Özet:

The borders that define Istanbul and other “yöresel yazmalar” in Turkish yazmacılık’s art undoubtedly draw features such as patterning technique, color and composition. Products created by the joint efforts of the hands of each stage; They have added and continue to add artistic value to our daily lives in every field, from handkerchiefs to curtains, from turbans to prayer rugs, especially with their fine cotton fabric. The recording of the works that we carefully keep today, and especially those who work on the works reserved as “Istanbul Yazmacılığı”, for whatever reason, serves as an important bridge for an art that has been attributed to the public again with masters from among the people, carrying the knowledge of its time to the present. From this point of view, it is aimed to benefit from official documents and information by investigating the situation in written documents of the period in which the art of yazmacılık, which is our intangible cultural asset, was referred to as Istanbul yazmacılığı. In a line from the Ottoman period, 19th century archive documents, it is seen that these masters were named as yazmacılar with a name that constitutes the main determinant of the art of handwriting and emphasizes its technical side. As a branch of “Basmacılar” located in the Ayazma Palace square in Üsküdar, “ahşap baskıcılar” make demands based on producing especially yemeni and establishing a union of craftsmen in this field with “kırmız ile masnûʻ-ı hâs nakş-ı mücessem ve elvan-ı mücesssem ve kalem-kârî”. In the case where “ahşap baskıcılar” (printmakers) except for the “basmacılar”, Fazlı Pasha Palace and Langa Yeni Kapı were present and their opinions were asked; It is ruled that the tradesmen organization is not allowed to establish a separate branch of art contrary to the ancient rules. However, it is also decided to make the kırmız ile masnu-ı has nakş-ı mücessem, elvan-ı mücesssem and kalem-karî yemenis special only to the oppressors in Ayazma. In this study, II. Based on this edict, which has the signature and calligraphy of Mahmud, first of all, it was tried to give information about the content of the edict. In addition, again considering the content of this document, III. In the palace square assigned by Ahmet, there is information about the change in the “Basmahane” that was included in the newly built Ayazma Mosque foundations and the functioning of its residents. In another title emphasizing the content of the edict, the information about the printing techniques used by “Üsküdar basmacıları” and other “Istanbul basmacıları” were discussed by comparing with the existing information and documents. In addition, the printing tools referred to in the document and called as breach are also mentioned. Thus, it will be tried to obtain some data about the anonymous masters, workshop activities, work places, work patterns, ahşap baskı techniques and the names of these techniques and the tools they use, based on the written sources referenced about a period of Istanbul yazmacılığı when we could not access all of the works.