Tawfik

Tawfik (1946)

"All success is from Allah."

This artwork's tazhib was created by Fatma Rikkat Kunt, a student of Necmeddin Okyay.

Necmeddin Okyay (1883–1976)

Calligrapher, marbling artist, bookbinder, archer, and a true "hezarfen" — master of many crafts

Necmeddin Okyay was one of the most exceptional figures in the world of Islamic arts in the 20th century. Born in the Toygartepe neighborhood of Üsküdar, Istanbul, he began his education by memorizing the Qur’an and quickly developed a deep interest in calligraphy. He studied rik‘a, divanî, and celî divanî styles before continuing his training with masters such as Filibeli Hacı Ârif Efendi and Sâmi Efendi. In 1905, he received his license (ijazah) in ta‘liq script, followed by Thuluth and naksh in 1906.

In 1903, a single sheet of marbled paper sparked his lifelong passion for ebru (Islamic marbling). He studied marbling, paper dyeing, and polishing (âhar) techniques under Edhem Efendi at the Sultantepe Özbekler Lodge. Soon, he began experimenting on his own and succeeded in painting tulips, carnations, and hyacinths directly into the marbling tray—an innovation that gave birth to “floral ebru.” His distinctive technique became widely known as “Necmeddin’s marbling.”

In 1925, his interest in bookbinding grew after acquiring traditional embossing tools from an old bookbinder’s workshop. He combined classical Ottoman techniques with modern methods like galvanoplasty, enabling him to create new leather bindings while restoring valuable historical books.

In 1927, he created a series of special bookbindings that brought together classical Ottoman ornamentation with a modern aesthetic. Each cover featured a unique design, reflecting both the spirit of the era and his artistic mastery. With the proceeds from this work, he acquired a Qur’an manuscript written by Şeyh Hamdullah for Sultan Bayezid II.

Okyay’s reputation as a calligrapher, marbler, and binder led him to teaching positions at key institutions like Medresetü’l-Hattâtîn, the School of Oriental Ornamentation, and later the State Academy of Fine Arts. He was officially appointed as a teacher of marbling and âhar in 1916 and taught scripts such as rik‘a, sülüs, and celî to countless students over the years. His home also became an informal hub of art and learning, where many future masters trained under his guidance.

His deep technical curiosity extended into ink making and material science. Okyay was widely respected for his rare ability to identify unsigned calligraphy works and even accurately date them based on script style. Beyond the arts, he was a skilled archer, a Qur’an reciter known for the "Üsküdar style," and a passionate rose cultivator—growing more than 400 varieties in his garden.

Among his students were some of the most respected names in the revival of Islamic and Turkish arts in the 20th century, including A. Süheyl Ünver, Fatma Rikkat Kunt, M. Uğur Derman, M. Emin Barın, Ali Alparslan, and Mustafa Düzgünman, along with his sons Nebih, Sâmi, and Sâcit. Through their work in calligraphy, marbling, bookbinding, and ornamentation, Okyay’s teachings continued to shape the course of traditional arts in modern Türkiye.

In 1960, he donated a major portion of his personal collection to the Topkapı Palace Museum, helping preserve and share his legacy with future generations. Necmeddin Okyay is remembered not only as a master of Islamic arts but also as a guardian of aesthetic heritage—uniting beauty, precision, and tradition in every work he touched.