The two restored calligraphy notes of Shaykh hfz. Nezir ef. Hadžimejlić

  • Meliha Teparić, dr.
Keywords: islamska umjetnost, kaligrafija, levhe, restauracija, Nezir Hadžimejlić

Abstract

Shaykh hfz. Nezir ef. Hadžimejlić, was born in Vukoljić near the town of Fojnica. He was a hafiz (learned Qur’an by heart), imam of the Čaršija mosque in the town Visoko, professor of kiraet in the Visoko madrasa, naqshibendi shaykh in Visoko. He spoke Arabic and Turkish. He was famous in Arabic discipline of beautiful writing – calligraphy. From his artistic performance we have two unique items of medžmua and up to now three discovered calligrapher notes written on the paper.

The calligraphic note ‘’MUHAMMED’’ (pbuh) dated from the year 1893 or (h. 1312) written in thick dželi sulus letter, circle composition and in the mirror written is the name of Muhammad (pbuh). Which writings belong to the musena calligraphy composition? Apart from the note there are also decorative and symbolical elements: three five-pointed stars (symbol of naqshibendi), stylized water pot and jar with flowers. The emphasize is on calligraphy masterly writing, excellent handwriting which is in motion, powerful rhythm, letters (harf ) are involved one in another thereby enhancing the ornament. The whole composition discloses cosmic character which works as a planet, and accompanying diacritical marks as stars. This symbolic expression by esoteric learning can be related on ‘’preplanet’’ or ‘’polar stars’’ – originally Divine spark from which whole universe was created as reflection love to prophet Muhmed (pbuh).

This work presents early stage of shaykh Nezir’s artistic expression, which shows maturity in thinking and writing, through which sense and symbolical meanining of calligraphic writing is expressed. Another calligraphic writing ‘’VE NATMA’U- waiting’’ presents the mature stage of artistic genius of shaykh Nezir from 1901 (or h. 1320). The main composition plot dželi-sulus harfova was combination with weaved in small text in nesh alphabet known as gubary letters. It was in fact 84 ayah of sura Ma’aide (dining table) which stated Ve ma lena la nu’min billahi ve ma džaena minel hak ve natma’u en yudhilena rabbuna maal kavmis salihi.’ ‚‘Why we do not trust to Allah s.w.t. and truth which came to us when we ‚‘crave’’ for it that our Almighty drive us into with good people’’. Distinctive composition which do not have neither beginning nor end; from the word VE NATMA‘U-letters one after another seized in circle making harmony in complex body. In comparison with the previous composition, now instead of symmetry in the first plan comes balance. The whole composition appears mystical and meditative character. Reaching the level of writing seen by elegancy and refinement was achieved in only few years. These calligraphic notes are not only written words. Rather here existed a concept, through visual aesthetic form expressed spiritually hidden essence of things /object. In such way the first composition make allusion to the world before this, while the next indicates the future world. Both compositions included aesthetic and spiritual appendixes which coexist one with another, showing at the some time high quality of beauty, harmony, proportion as well as extraordinary perceptual essence of spiritual knowledge.

Published
2008-12-31
How to Cite
Teparić, M. (2008). The two restored calligraphy notes of Shaykh hfz. Nezir ef. Hadžimejlić. Anali Gazi Husrev-Begove Biblioteke, 15(27-28), 251-264. Retrieved from http://anali-ghb.com/index.php/aghb/article/view/183
Section
Articles