Özet:

Abstract Hussein Kutlu is one of our significant line (calligrapher) and he is the most important representatives of the Hüsn-i hat school (the Islamic calligraphy) in the 21th century. He was born in an intellectual family and grew up in a lore environment. After his philosophy education he has worked as imam and he served for twenty-six years. During this time, with the understanding of "Islam is a civilization and the center of this civilization is mosque" he put efford on invigorating the mosque which has lost its function and he has combined mosque with art. Happy, who quite productive lineat (calligrapher), emphasizes a lot about the relations between architecture and the line/lettering. He has identified the contemporary problems between art of hüsn-i line (calligraphy) and architectural structure. When he performs his works, his measure has always been principles of Islamic civilization. He pay attention to the meaning, effects of stain, right of pen and functionality in order to be eligible of condition in works. It is crucial to state that, his mentality of art is not only limited by works also he is a calligrapher who practices what he thinks about his works. Also he is a calligrapher who strives to reflect his works to scientific studies. Articles were made in accordance with interviews belongs to Hatty (calligrapher) Summary Goodbye says, in XVIII. century, as in other traditional arts, there has been no change and transformation in the art of calligraphy. This is due to the fact that the art of calligraphy does not have an equivalent in the West, the art of calligraphy is transferred from generation to generation with the master-apprentice method and the art of calligraphy has the ability to regenerate within its own structure. But then, a century later, there were difficulties at the point of the maintenance of calligraphy. These difficulties were primarily due to economic problems in the period. The cultural and social change brought about by modernization and the structural transformations experienced in every aspect of social life, not only negatively affected the traditional arts and cultural life but also created obstacles that hard to overcome in the presence of calligraphy. In the 19th century, the traditional dynamics of the social structure and economy of the Ottoman Empire was transformed and undergone significant changes. As a result of a series of battles that began with the Crimean War, continued with the Balkan Wars and the First World War, the country suffered greatly in financial damage. In the face of this economic collapse, the situation of the state and the society that was struggling with the entity were also reflected in art: the development of traditional arts has been naturally interrupted. Even in financial difficulties, there have been attempts to stimulate the art of calligraphy. In 1892, as a part of Divân-i Hümâyun, Tâ'lim-i Hat was established by grand visier Ahmed Cevdet Pasha. Unfortunately, after the death of Cevdet Pasha, the institution lost its importance and closed in a short time. Another attempt to cultivate calligrapher, to maintain this art and to ensure the spread of it, was the opening of the "Calligrapher school", in another name Medresetü'l-Hattâtîn, within the body of the Museum of Islamic Foundations. However, the Medresetül Hattâtîn was closed as a result of the letter revolution. As a natural consequence of this, the art of calligraphy was pushed back into the background. The fact that the art of calligraphy is in the background is also related to the understanding of the art of that period. Because the Republican Government's understanding of art is quite different from the Ottoman state's perspective of art. It is known that the Republican Government has made a great transformation in the arts and cultural environment since its foundation. The support of modernity by the government has led to the rejection of tradition and the emergence of an art environment open to innovations. These changes in the artistic and intellectual environment did not change of art calligraphy in a technical sense, but pushed it back into the background. Ultimately, the art of calligraphy in Turkey went through a difficult process as a result of financial troubles, letter revolution and the conception of the art of that period. However, the art of calligraphy has reached the present day with the efforts of altruistic figures. One of these figures is Husein Congratulations. He received a certificate of qualification from his master Hamit Aytac to continue his art and became one of the most important calligraphers who follow in tradition's footsteps. When he was studying Philosophy at Istanbul University, Kutlu started to practice with Hamit Aytaç. In 1968, Kutlu noted that many people believed that the art of calligraphy had expired and some artists mentioned that this art would end with Calligrapher Hâmid Aytaç's passing away. In such a time, in 1974 he received ratification of Sülus-nesih from Hamit Aytac. He also practiced ta'lik with Ugur Derman. He tried to revive the civilization of the mosque as much as he could through his art. While he performing his art, he puts Islamic Civilization to its center. He also worries about the situationiton of the Islamic Ummah because according to him there are many problems. We understand from the interviews with him that in the contemporary mosque architecturethere there is no integrity between the place of writing and the meaning of it. There are also situations in which the meaning is pushed into the background and aesthetics and meaning does not match. He has identified these problems and has tried to solve them by investigating previous calligraphers works of art. He has realized the fact that the most important characteristic of Islamic civilization is to make everything meaningful. According to the verses of the Quran, there is surely understanding of wisdom behind every single thing. And as by Kutlu, this understanding is reflected in art, architecture and science. In this way, He performs works in which the meaning, function and aesthetics are combined. But first of all, in the process of creating his works, he asks questions such as "what should be prioritized?" And “what should we keep ahead?” Looking for answers. While performing his art there are some points that Huseyin Happy cares about. First of all, he indicates that a calligrapher must recognize and understand the place. The most important point is the compliance between place to be written and inscription. Another one is the harmony between architectural construction elements and writing. Please pay attention to the effect of stain in the place where the writing will take place. He also attached importance to harmony by using many factors such as the color of the place and the effect of other traditional arts. These attitudes which he pay attention while performing his art shows that he follows traditional line rather than contemporary art criteria. He reflects his imagination into his pieces. Another important basis we learned about calligraphy from Hussein Kutlu is: He is aware that Islamic civilization does not consist of nostalgia. The Art of Islam is a dynamic and universal art due to it feeds directly from the Quran and from life. In this regard he realizes the fact that tradition and Islamic civilization are always alive.

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